WILLIAM  R.  PERKINS 
LIBRARY 


DUKE  UNIVERSITY 


Montrose  J.  Moses 
Collection 

Presented  by  his  wife 

Mrs  Montrose  J.  Moses 

together  with  his  sons 

Lawrence  Southerland  Moses 

and 

Montrose  James  Moses 


Digitized  by  the  Internet  Archive 
in  2016  with  funding  from 
Duke  University  Libraries 


https://archive.org/details/peergynt01ibse 


THE  MODERN  DRAMA  SERIES 


EDITED 


BY  EDWIN  BJORKMAN 


PEER  GYNT  BY 


HENRIK  IBSEN 


PEER  GYNT 

A DRAMATIC  POEM  BY 

HENRIK  IBSEN 


TRANSLATED  IN  THE  ORIGINAL  METER 
WITH  AN  INTRODUCTION  BY 

R.  ELLIS  ROBERTS 


NEW  YORK 

MITCHELL  KENNERLEY 
MCMXIII 


COPYRIGHT  I913  BY 
MITCHELL  KENNERLEY 


THB'PLIMPTON* PRESS 
NORWOOD*  MASS*  U • S • A 


J /ifPti 

CONTENTS 

PAGE 

Preface 

vii 

Introduction 

ix 

Peer  Gynt 

1 

Notes 

237 

PREFACE 


FOR  years  I have  cherished  the  dream  that  some  day 
I might  be  permitted  to  produce  a version  of 
“ Peer  Gynt  ” by  which  the  wonderful  charm  and  deep 
philosophy  of  the  original  could  be  brought  within  the 
grasp  of  English-speaking  readers.  That  dream  lies 
probably  behind  me,  for  while  it  would  be  foolish  to 
claim  perfection  on  behalf  of  Mr.  Roberts’  translation 
— as  he  would  be  the  last  one  to  enter  any  such  claim  — 
that  translation  comes  nevertheless  so  close  to  the 
original,  both  in  form  and  thought,  that  the  chance  of 
surpassing  it  seems  small,  indeed.  The  difficulties  pre- 
sented by  the  original  are  greater  by  far  than  those 
encountered  in  any  other  of  Ibsen’s  plays,  and  it  would 
be  almost  unthinkable  that  a translator  could  wholly 
avoid  inversions  and  other  artificialities.  There  are 
lines  in  Mr.  Roberts’  version  which  have  troubled  me, 
but  time  and  again  I have  also  been  pleasantly  startled 
by  the  ingenuity  and  tact  displayed  in  the  face  of 
problems  that  seemed  beyond  solution  to  me.  Through 
his  work,  one  of  Ibsen’s  most  interesting  and  attrac- 
tive creations  has  been  rendered  available  to  the 
English-speaking  public  in  such  shape  that,  at  last, 
they  may  savor  the  “serious  jesting”  that  gives  the 
original  a place  apart  in  the  world’s  literature.  Never 
did  Ibsen  write  with  more  abandon,  never  did  he  more 


viii  PREFACE 

strikingly  prove  himself  possessed  of  that  graver  in- 
sight which  we  call  humor,  than  in  “ Peer  Gynt,”  where, 
with  chameleontic  ease,  his  symbolism  contracts  and 
expands,  so  that  sometimes  we  find  only  himself  and 
sometimes  all  mankind  at  the  core  of  his  mercifully 
merciless  satire.  And,  furthermore,  it  is  my  belief  that, 
as  our  evolutionary  conception  of  life  develops  and 
clarifies,  it  will  become  increasingly  evident  that  this 
latter-day  myth,  woven  so  skillfully  out  of  old  legends 
and  new  facts,  is  one  of  the  deepest  and  most  instruc- 
tive books  given  to  mankind  since  science  began  to 
triumph  over  faith  — for  in  this  “ dramatic  poem  ” 
(as  Ibsen  himself  called  it),  and  particularly  in  its 
final  act,  lies  foreshadowed  the  new  faith  that  must 
sooner  or  later  rise  out  of  that  triumph. 


E.  B. 


INTRODUCTION 

I 

IF  Peer  Gynt  stands  for  anything,  it  stands  for  this 
truth,  that  personality  is  more  important  and  splen- 
did than  any  other  factor  in  life  or  art.  That  is,  to  my 
mind,  the  true  secret  of  the  ground  between  Classical 
and  Romantic  — though  Peer  Gynt  is  rather  Gothic 
than  Romantic.  The  old  criticism  — never  better  ex- 
emplified than  in  Addison’s  paper  on  Paradise  Lost, 
or  better  caricatured  than  in  Berkeley’s  edition  of  the 
same  poem  — applied  rules  to  a poem : it  did  not  dream 
of  examining  the  rules  by  the  poem,  still  less  did  it 
think  of  criticising  the  poem  by  its  knowledge  of  the 
author.  For  instance,  Addison  discourses  on  whether 
humor  is  proper  to  an  epic:  quotes  the  comic  pas- 
sage in  Homer,  looks  minutely  for  similar  lapses  in 
Virgil,  then  rightly  condemns  the  bad  joke  of  the  gun- 
powder in  Milton.  Now  this  no  modern  critic  would 
do.  What  he  would  see  first  of  all  is  that,  whatever 
the  suitability  of  Comus’  intrusion  into  epos,  still 
Homer  had  a sense  of  humor,  and  Milton  as  evidently 
had  not;  and  for  that  reason  the  author  of  Paradise 
Lost  would  have  been  better  advised  to  refrain  from 
comic  incident. 

Let  me  insist,  too,  that  the  classical  tradition,  in 
creative  or  critical  work,  was  unknown  to  the  classical 
age.  It  was  an  invention  of  France.  Aristotle  had  no 
thought  of  drawing  up  rules  for  the  drama,  or  for 


X 


INTRODUCTION 


literature  generally,  apart  from  the  facts ; only  his 
facts  were  fewer  and  covered  less  space  than  do  ours, 
and  so  his  criticism  is  more  rigid.  But  it  is  based 
on  masterpieces : the  Greek  masterpieces,  unlike  the 
French,  were  not  written  to  rule  — the  rules  were 
merely  so  many  statements  of  their  observed  excellence. 
That  is  the  real  reason  why  some  of  us  who  love 
Sophocles  do  not  think  he  is  more  akin  to  Racine  than 
to  Shakespeare;  and  feel  the  harmony  of  the  Tempest 
to  be  far  more  Hellenic  than  the  passion  of  Phedre. 
Shakespeare,  as  Sophocles,  expressed  his  temperament 
by  the  rules  that  suited  him;  Corneille  and  Racine 
expressed  theirs  by  rules  that  embodied  not  their  choice 
but  their  traditions.  They  did  not  find  a form  that 
appealed  to  them.  They  followed  a monarch  whom 
they  feared  to  disobey. 

Ibsen  had,  more  than  any  modern  writer,  periods 
when  different  styles  appealed  to  him.  In  his  youth 
he  is  romantic,  with  side-glances  towards  satire ; 
towards  maturity  he  becomes  classical,  as  in  The  Doll’s 
House  and  Ghosts.  In  his  greatest  achievements  he 
is  modernist  — that  is,  his  form  so  clothes  his  ideas 
that  we  cannot  conceive  such  a play  as  The  Master- 
Builder  in  any  other  setting:  body  and  soul  are 
inseparable. 

About  Peer  Gynt  there  is  none  of  this  inevitability 
of  form.  Indeed  it  is  — if  we  follow  the  old  divisions 
— far  more  epic  than  dramatic.  In  epos  the  character 
of  the  hero  is  static.  Achilles  does  not  develop,  nor 
Odysseus,  nor  Satan.  In  drama  the  characters  grow 
before  us,  and  -of  the  end  of  that  growth  we  are  un- 
certain. Peer  Gynt  himself  is  the  same  in  every  scene 
of  the  play.  He  is  the  man  of  the  nineteenth  century 


INTRODUCTION 


xi 


seen  against  the  eternities ; and  the  eternities  make 
hijn  thoroughly  uncomfortable.  He  is  Odysseus,  with 
this  vivid  difference,  that  he  has  conscience;  he  is  an 
Achilles,  who  never  leaves  his  tent  until  the  last  page 
of  his  story;  he  is  a Satan  who  would  wheedle  God 
into  acquiescence  in  his  rebellion.  It  is  this  static  note 
about  Peer  which  disappoints  some  readers  who  have 
founded  their  admiration  for  Ibsen  on  the  later  dramas. 
To  them  the  great  poem,  with  its  perfect  woman,  Sol- 
veig, is  a little  lacking  in  the  deep  psychological  in- 
terest that  they  expect;  it  is  too  alien  to  the  move- 
ment, of  which  Goethe’s  Faust  is  the  watchword,  that 
regarded  theology  rather  than  religion,  art  rather  than 
life,  as  the  basis  of  reality.  Such  a criticism  is  unfair 
to  the  poem.  Peer  Gynt  is  perfectly  free  from  the 
romantic  fallacy  that  saved  the  hero,  at  the  last  mo- 
ment, by  cloaking  his  offences  in  the  heroine’s  virtues. 
Peer  is  a picture  of  a man  wrho  never  touches  reality 
except  once,  in  his  love  for  Solveig.  Now,  it  is  not 
Solveig’s  love  which  saves  him,  passive,  against  the 
strength  of  great  sins ; it  is  his  love  for  Solveig,  his 
repentance  and  his  recollection  which,  at  the  last  mo- 
ment, counterbalance  his  otherwise  negative  life.  In 
the  ordinary  romantic  story  the  legend  is  thus : At 
the  end  of  life,  the  Devil  holds  the  scales ; into  one 
scale  he  puts  the  hero’s  sins  and  wickednesses,  then 
comes  forward  the  heroine  and  slips  her  affection  into 
the  other  scale,  and  straightway  the  Devil’s  scale  kicks 
the  beam.  How  different  is  Ibsen  — The  Button- 
Molder  stands  holding  the  scales.  Into  one  he  slips 
Peer  Gynt;  the  scales  quiver  not  a jot.  Peer,  in  rage 
and  despair,  heaps  into  the  scale  his  “ half-way  prate,” 
his  dreams,  his  fancies,  his  little  greeds ; still  the  scale 


Xll 


INTRODUCTION 


does  not  move.  There  is  no  real  Peer  at  all.  Then 
he  remembers  his  one  real  offence,  his  sin  against  Sol- 
veig. He  put  that  in  — or  makes  to  do  so  — when 
Solveig  intervenes,  puts  Peer’s  real  self  into  God’s  scale, 
and  — wins  a decisive  victory?  No  — Ibsen  is  too  true 
for  that;  but  Solveig’s  action  does  move  the  scale,  and 
Peer  is  given  a last  chance  before  the  final  visit  of  the 
Button-Molder. 

This  then  is  the  main  thought  in  Peer  Gynt.  Just 
as  its  irregular  form  is  simply  the  sign  of  Ibsen’s  per- 
sonality, so  the  idea  of  the  play  is  that  reality  in  per- 
sonality is  what  counts  most.  Action  is  nothing  with- 
out will;  and  will  futile  without  motive.  And  the  only 
certainly  availing  motive  is  love. 

II 

First  of  all  Peer  Gynt  must  be  read  and  enjoyed  as 
the  great,  fanciful,  imaginative  poem  it  is.  Its  secrets 
— far  more  can  be  discovered  than  the  author  ever 
meant  — will  only  yield  themselves  to  the  lover,  and 
I have  no  intention  of  submitting  this  gorgeous  and 
capricious  poem  to  a rigid  analysis.  Still  its  beauty 
as  a sheer  narrative  reveals  itself  immediately,  while 
some  of  its  side-issues  have  been  called  obscure.  The 
story  is  a folk-tale.  That  is  not  to  be  forgotten.  Peer 
himself,  the  trolls,  the  Farm-Girls,  the  reindeer  ride,  all 
the  most  delightful  adjuncts  of  the  first  three  acts,  are 
borrowed  and  generally  improved  from  the  Norwegian 
folk-stories. 

Generally  Ibsen  was  content  with  taking  these  prop- 
erties and  intensifying  their  values.  But  a poem  like 
Peer  Gynt  takes  some  time  to  write,  and  when  Ibsen 


INTRODUCTION 


xiii 

was  writing  the  last  two  acts  he  yields  more  and  more 
to  the  temptation  to  give  symbolic  values  to  the  old 
characters.  Sometimes  he  is  content  with  a mere  par- 
allelism. For  instance,  the  monkeys  of  Act  IV,  Scene  4, 
correspond  to  the  imps  in  the  Dovre-King’s  hall;  the 
horse,  in  Act  IV,  Scene  5,  corresponds  to  the  pig  on 
which  Peer  and  the  Green-Clad  One  gallop  away.  These 
hints,  as  it  were,  of  a dream-life  help  the  unity  of  the 
play  tremendously,  and  Ibsen  never  made  the  mistake 
of  over-using  them.  But  he  is  not  always  content  with 
just  a correspondence.  In  Act  II,  Scene  7,  the  Boyg 
looms  vastly  enough;  and,  as  the  story  proceeds,  Peer 
Gynt’s  repetition  of  “ Roundabout,  said  the  Boyg,”  his 
reiteration  of  the  deadly  chant, 

Backwards  and  forwards,  ’t  is  just  as  long ; 

In  and  out,  and  it ’s  strait  as  strong, 

gives  a sinister  color  to  the  Great  Boyg  and  his  mean- 
ing. Finally  Peer’s  identification  of  the  Boyg  with  the 
Sphinx  surely  shows  us  plainly  enough  that  Peer  Gynt 
himself  is  in  the  position  of  the  old  seeker  after  the 
Secret.  Death,  spiritual  or  bodily,  is  the  penalty  for 
shirking  the  secret  of  the  Sphinx;  so  you  cannot  cir- 
cumvent the  Boyg,  you  can  only  conquer  him  by  an- 
swering. I should  have  thought  it  was  impossible  for 
any  one  to  mistake  the  meaning  of  the  Boyg;  but  I 
confess  that  the  meaning  of  the  King  of  the  Dovre  is 
much  more  difficult.  To  identify  him  with  Memnon,  as 
does  Peer,  is  no  help  at  all,  because  there  is  no  suit- 
able legend  about  Memnon ; and  the  King’s  reappear- 
ance in  the  Fifth  Act  is  one  of  the  most  unsatisfactory 
and  casually-written  scenes  in  the  play,  one  of  the  few 
where  Ibsen  descends  to  a kind  of  poetical  journalism 


XIV 


INTRODUCTION 


only  just  tolerable  in  the  poem,  because  it  is  so  in  keep- 
ing with  Peer’s  character. 

What  means  this  motto  of  the  Dovre:  “Troll,  to 
thyself  be  enough”?  Did  Ibsen  intend  to  satirize  the 
doctrine  which  Emerson  preached  in  his  essay  on  “ Self- 
Reliance  ”?  What  exact  meaning  did  he  attach  to  the 
word  “egotist”?  Not,  I think,  that  abundant  self- 
sufficiency  which  another  master  pilloried  in  Sir  Wil- 
loughby, nor  the  savage  pride  that  slew  Coriolanus. 
Peer  was  not  capable  of  either  of  those  emotions,  nor 
indeed  was  the  Dovré-King.  It  is  obvious  that  Ibsen, 
for  one  thing,  was  jousting  at  what  he  held  was  the 
narrow-minded  nationalism  of  his  fellow  countrymen ; 
he  was  indeed  satirizing  an  actual  political  and  social 
movement  that  corresponded  roughly  to  the  Irish  Sinn 
Fein.  But  he  meant  something  more  than  mere  satire 
of  political  opponents.  It  is  the  “ Dovrish  enough  ” 
which  is  going  to  damn  Peer  Gynt ; it  is,  for  Ibsen,  the 
rigid  line  that  marks  off  real  men  and  women  from 
“ hill-trolls.”  I incline  myself  to  the  view,  as  I have 
stated  in  a note,  that  what  Ibsen  is  attacking  is  the 
particular  form  of  monomania  which  we  now  know  as 
the  gospel  of  the  Superman.  Nietzsche  himself,  or 
rather  Zarathrustra,  is  insistent  that  the  Superman 
will  be  quite  unlike  Man;  and  that  is  true;  he  will  be 
a hill-troll,  not  a god.  Nietzsche’s  doctrine  is  so  in- 
consistent with  itself,  and  his  repetition  of  it  so  full 
of  ignorances,  that  it  is  not  easy  to  give  any  definite 
form  to  the  Superman.  But  it  has  this  in  common  with 
the  hill-troll  — the  Superman,  like  the  hill-troll,  is  self- 
circumferenced  as  well  as  self-centred.  Here  is,  I think, 
to  be  found  the  real  meaning  of  the  “ fatal  enough  ” : 
some  students  of  Ibsen  have  found  the  attack  on  self- 


INTRODUCTION 


xv 


sufficiency  in  Peer  Gynt  difficult  to  reconcile  with  Ibsen’s 
vehement  preaching  of  self-realization  in  his  other  work. 
The  two  are  really  complementary.  What  is  wrong 
with  the  troll  doctrine  is  not  the  emphasis  laid  on 
“ self,”  it  is  the  emphasis  put  on  “ enough.”  A man 
can  not  realise  himself  at  all  without  contact  with  his 
fellow  creatures.  “ The  strongest  man  in  the  world  is 
the  man  who  stands  most  alone,”  is  put  into  Stock- 
mann’s mouth.  Dr.  Stockmann  is  alone,  but  not  sepa- 
rate ; he  is  defiant,  not  ignoring ; he  fights,  he  does  not 
forget.  So,  even  at  its  strongest  and  most  aggi'essive, 
Ibsen’s  doctrine  of  self-realization  (if  we  identify  him 
with  Dr.  Stockmann)  is  not  inconsistent  with  the  con- 
demnation of  that  selfish  individualism  which  we  find 
in  Peer  Gynt.  That  individualism  is,  after  all,  in  one 
of  the  most  forcible  passages  in  the  poem,  described 
as  madness.  It  is  only  in  the  mad-house,  at  the  end 
of  the  Fourth  Act,  that  Peer  Gynt  meets  people  who 
are  really  themselves. 

Here  a man  is  himself,  and  can  utterly  sever 
Everything  else  from  himself  for  ever. 

Here,  full  sail,  as  ourselves  our  course  we  make. 

Each  in  the  barrel  of  self  down  plunges 
And  ferments,  and  soon  all  but  self  expunges; 

And  seals,  with  self’s  bung,  self’s  citadel, 

And  seasons  the  staves  in  self’s  deep  well. 

No  one  has  tears  for  the  other’s  disasters; 

What  the  other’s  ideas  are,  no  one  masters. 

Ourselves,  that  we  are  in  thought  and  tone. 

Ourselves,  to  the  spring-board’s  uttermost  verge. 

It  is  this,  surely,  which  Ibsen  wants  us  to  think  of 
as  the  inevitable  outcome  of  the  Dovre  doctrine. 

Beside  the  evidence  furnished  by  the  passage  in  the 
mad-house  scene,  there  are  two  positive  interpretations 
given  us  of  what  the  poet  means  by  true  self-realiza- 
tion. I mention  them  in  order  of  importance.  In  the 


INTRODUCTION 


Fifth  Act,  Scene  9,  Peer  asks  the  Button-Molder 
point-blank, 

To  be  oneself,  what ’s  it  at  bottom  mean  ? 

And  the  Button-Molder  replies: 

To  be  oneself  is  : oneself  to  slay. 

But  that  answer  is  no  doubt  thrown  away  on  you  ? 

And  so  we  ’ll  say  : everywhere  to  display 

Like  a signboard.  Master’s  meaning  upon  you. 

Here  the  Button-Molder  is  not  altogether  free  from 
Peer’s  own  fault,  quoting  old  axioms  without  due 
thought.  The  Dominical  injunction  “Whosoever  wills 
to  save  his  self  shall  lose  it,  and  whosoever  shall  lose 
his  self  for  mj  sake  shall  save  it,”  cannot  be  taken 
apart  from  its  complementary  warning,  “ What  shall 
it  profit  a man  if  he  gain  the  whole  world,  and  lose  his 
own  self?  Or  what  shall  a man  give  in  exchange  for 
his  self?  ” — a warning  that  Peer  misremembers  and 
misapplies  in  the  First  Scene  of  Act  IV.  It  is  obvious 
that  mere  self-sacrifice  is  as  futile  as  mere  self-indul- 
gence; nor,  to  my  mind,  does  the  Button-Molder’s 
enlarged  exposition  of  the  meaning  of  self-realization 
carry  us  much  further.  No,  for  the  best  interpreta- 
tion of  Ibsen’s  meaning,  and  of  its  strong  contrast 
with  Peer’s  ideal,  one  must  look  at  one  of  the  most 
dignified  and  impressive  scenes  in  the  play  — the  ser- 
mon in  Act  V,  Scene  3.  It  would  be  a mistake  to  give 
unqualified  praise  to  the  poor  man  who  evaded  what 
the  world  1 is  fond  of  calling  “ greater  responsibilities  ” 
in  order  to  do  his  immediate  or  personal  duty ; but 
surely  here  is  the  exact  antithesis  of  Peer’s  selfishness. 
This  unnamed  lad,  who  suffered  scorn  and  self-mutila- 
tion rather  than  desert  his  betrothed,  his  unborn  child 


1 The  world  of  men  particularly. 


INTRODUCTION 


XVII 


and  his  old  mother  may  not  be  the  world’s  hero,  but 
he  does  stand  definitely  for  a keen,  dogged  faithfulness 
to  others,  in  which  alone  self-realization  can  be  found. 
Ibsen  emphasizes  the  difference  between  this  man  and 
Peer,  by  putting  into  Peer’s  mouth,  after  the  end  of 
the  sermon,  words  claiming  this  man  who  found  him- 
self as  “ a comrade  in  spirit.” 

Peer  trusts  too  much  to  our  bad  memories  when  he 
makes  that  claim.  In  no  scene  in  any  play  has  Ibsen 
so  impressed  on  us  the  gulf  between  motive  and  action. 

The  Light  of  Light 

Looks  always  on  the  motive,  not  the  deed  ; 

The  Shadow  of  Shadows  on  the  deed  alone. 

Peer  has  shirked  civil  duties,  social  duties,  patriotic 
duties:  the  man  with  the  sickle  shirked  them,  too.  Yet 
one  can  rightly  claim  our  praise,  the  other  can  only 
earn  contempt.  And  Peer  is  lying  even  when  he  im- 
plies that  there  is  an  external  similarity  to  the  casual 
observer.  For,  after  all,  the  lad  did  cut  off  his  finger: 
and  Peer  — ? his  own  words  bear  witness  against  him. 

But  to  chop ? To  cut  off  for  good  and  all 

Yes,  think  of  it ; wish  it  done  — will  it,  withal; — 

But  to  do  it ! No  ; that ’s  beyond  my  discerning  ! 

So  over  against  Peer  the  play  gives  us  this  poor, 
humble,  timid  man  who  yet,  in  a crisis,  possessed  his 
own  soul  securely,  and  dared  to  sacrifice  for  the  sake 
of  Love  and  truth  everything  that  the  selfish  man  holds 
most  dearly. 

We  must  not  shrink  from  the  conclusion  that  Ibsen, 
in  Peer  Gynt,  attacks  self-sufficiency,  from  the  fact  that 
Brand,  the  hero  of  his  other  great  dramatic  poem,  comes 
not  a little  under  the  condemnation.  I have  tried  to 
show  elsewhere  that  the  popular  idea  of  Brand  as  a 


xviii  INTRODUCTION 


tragedy  of  a sublime  figure  conquered  by  circumstance 
is  a false  one.  I believe  Ibsen  — possibly  only  in  the 
course  of  the  poem  — himself  saw  Brand’s  essential 
weakness  (a  weakness  so  much  more  fatal  because  more 
sublime  than  Peer  Gynt’s)  and  that  the  tragedy  of 
Brand  is  that  of  a soul  false  to  that  inner  self,  and 
that  more  glorious  ideal,  which  ultimately  gain  expres- 
sion in  the  thunder  of  avalanche  and  storm. 

The  Dovre-King  himself  is,  then,  less  important  than 
his  symbolic  significance.  He  is  the  only  character 
whose  poetical  being  is  overweighted  by  his  moral  — 
and,  at  his  final  appearance,  this  certainly  spoils  what 
might  otherwise  have  been  a great  scene.  We  feel  the 
poet  becoming  rather  too  explanatory,  particularly  in 
the  passage  about  troll  j ournalism ; and  also  in  the  fa- 
cetious comments  on  the  Dovre-King’s  fabulous  nature. 

There  are  none  other  of  the  characters,  either  legen- 
dary or  actual,  who  do  not  justify  themselves.  We 
may  think  the  Strange  Passenger  rather  too  vague  in 
his  impressive  interruptions,  and  feel  that  the  intro- 
duction of  the  Devil  is  a little  too  much  on  the  other 
side  of  farce : but  that  the  Strange  Passenger  — put 
into  the  play  “ out  of  caprice  ” — is  impressive  few 
will  deny ; and  the  Devil’s  arrival  needs  no  gloss.  He 
was  bound  to  follow  the  Button-Molder.  What  I 
would  insist  on  is  that  the  reader  who  comes  fresh  to 
Peer  Gynt  should  remember  first  the  poetic  value  of  the 
characters.  It  i§  only  so  that  he  will  gain  any  true 
insight  into  their  symbolic  significance,  if  and  where 
there  is  any.  It  cannot  be  said  too  often  that  the 
poetic  value  of  Peer  Gynt  is  primary;  the  satirical, 
symbolic  and  religious  values  subsidiary. 


INTRODUCTION 


xix 


III 

What  then  is  the  poetic  content  of  Peer  Gynt ? Its 
glorious  quality  of  creative  and  rhythmical  surprise, 
its  splendor  of  youth  and  exuberance,  its  sheer  beauty, 
its  tense  truth  and  candor,  its  almost  perfect  con- 
centration on  the  character  of  Peer  Gynt,  are  things 
that  only  those  who  can  read  the  original  can  fully 
appreciate.  Still  one  hopes  — otherwise  this  version 
would  never  have  been  attempted  — that  the  essence 
of  the  poem  has  not  entirely  evaded  the  translator,  and 
can  be  conveyed,  however  faultily,  to  the  English  reader. 
Anyway,  those  sheer  poetical  qualities  of  presentation 
must  make  their  own  appeal;  but  it  may  be  useful  to 
add  a word  or  two  on  Peer  Gynt’s  character  — not  so 
much  from  the  symbolic,  as  the  poetic  standpoint. 

Peer  Gynt  is  a new  person  in  poetry.  There  are 
qualities  about  him  which  have  affinities  with  Falstaff; 
and  there  are  yet  others  in  which  he  can  call  cousin 
with  Hamlet;  but  he  is,  even  when  he  is  old,  far  more 
of  a youth  than  either  of  Shakespeare’s  creations. 
That,  perhaps,  is  the  first  note  in  him  that  insists  and 
claims  to  be  heal’d.  Peer  Gynt  is  a boy.  He  is  one 
of  those  who  go  through  the  world  trusting  more  to 
“ charm  ” than  to  any  more  solid  quality : and  his 

charm  carries  him  far.  His  mother,  though  she  knows 
its  value,  is  always  beaten  down  by  it  in  the  end;  the 
enmity  it  excites  among  the  other  youths  is  largely 
the  enmity  of  jealousy;  it  entrances  Solveig;  it  makes 
Ingrid  consent  to  the  wild  elopement  — and  there  is 
hardly  a scene  in  the  play  in  which  it  does  not,  in  the 
most  disconcerting  way,  confuse  the  judgment  of  the 
reader. 


XX 


INTRODUCTION 


This  particular  quality  has  not  often  been  success- 
fully conveyed  in  literature ; Peer  Gynt  is  more  easily 
paralleled  from  real  life  — he  recalls  Sheridan  or  Fox, 
or,  to  go  higher,  Shelley.  It  is  only  in  a certain  ad- 
venturousness that  he  can  recall  such  a hero  as  Tom 
Jones : shallow  though  it  be,  there  is  a stream  of 

poetry  in  Peer  Gynt,  quite  absent  from  the  veins  ‘of 
the  Foundling. 

Yet  the  poverty  of  Peer’s  poetical  quality  strikes 
the  reader  almost  as  much  as  its  presence.  The  reason 
for  its  scanty  running  is  evident  enough.  Peer  is  the 
slave,  not  of  imagination,  but  of  fancy.  The  prosaic 
man’s  habit  of  dreaming,  of  seeking  refuge  from  real 
life  in  slight,  desultory  day-dreams,  has  caught  Peer. 
Partly  encouraged  by  his  mother’s  character  and  ex- 
ample, it  has  a firm  hold  on  him  long  before  the  play 
opens,  and  it  only  relaxes  its  grip  when  he  is  within 
the  sight  and  sound  of  Solveig.  It  is  so  much  Peer’s 
master  that  he  cannot  distinguish  between  his  dreams 
and  his  truths.  In  that  sordid,  terrible  auction  scene 
— the  depth  of  Iris  degradation  — Solveig’s  hymn- 
book  is  cried  for  auction  along  with  the  rubbish  of  the 
Dovre,  the  desert  and  the  mad-house.  Peer,  in  his  own 
untruthful  fashion,  has  turned  even  Love  into  a thing 
of  light  laughter  and  easy  tears,  a thing  of  shallow 
sentiment  and  windy  regret  — and  he  has  to  be  rid  of 
that,  to  feel  himself  stripped  and  stark  before  he  can  see 
the  hut  again,  before  his  ears  can  be  opened  to  Solveig’s 
song  of  the  home-coming. 

Then  Peer  not  only  values  fancy  and  the  things  of 
fancy  above  imagination;  but  he  adopts  his  fancies 
second-hand.  No  doubt  when  Ibsen  started  the  poem, 
he  had  not  thought  out  what  exact  use  he  would  make 


INTRODUCTION 


xxi 


of  the  old  legend  on  which  the  story  of  Peer  Gynt  is 
based.  But,  as  the  play  grew  under  his  hands,  he  saw, 
in  these  old  scraps  and  fragments  of  ballads  and  fairy- 
tales, wonderful  material  for  illustrating  Peer’s  de- 
rivative genius,  his  borrowed  and  unessential  character. 
Peer,  in  this,  is  surely  related  to  Gregers  Werle,  only, 
unlike  Gregers,  he  has  finally  the  courage  and  sense 
to  know  that  his  relations  with  Solveig  are  on  a more 
real  and  sacred  footing  than  his  other  experiences. 
Peer  lives  in  dreams,  and  in  other  men’s  dreams.  Even 
his  escapade  with  Ingrid  is,  Åse  hints,  inspired  by  the 
recollection  of  tales  told  him  by  the  fireside;  and  in 
his  middle  age  he  surrounds  with  the  glamour  of  a 
shoddy  romanticism  the  cruel  degradation  of  the  liaison 
with  the  Green-Clad  One,  the  ignoble  struggle  with  the 
imps  of  the  Dovre. 

I have  not  counted  the  number  of  times  that  Peer  is 
thrust  into  quotation  to  justify  or  explain  his  actions: 
but  he  is  always  ready  to  fly  to  precedent,  to  base  his 
opinions  on  others’  judgements,  to  choose  glibly  the 
first  philosophic  tag  that  presents  itself.  It  is,  per- 
haps, this  characteristic  which  makes  Peer  so  singularly 
typical  of  the  nineteenth  century.  It  was  this  in  him 
which  caused  me,  in  my  essay  on  Ibsen,  to  call  Peer 
Gynt  a “ pinch-beck  Shelley.”  My  friend  Mr.  Robert 
Lynd  objects  to  the  phrase  and  claims  Peer  Gynt  as 
Everyman.  I doubt  if  there  is  really  much  difference 
between  us.  Peer  Gynt  is  Everyman  of  the  nineteenth 
century:  but  so  was  Shelley.  Nothing  seems  more 
curious  to  us  to-day  than  to  think  that  in  his  own  time 
Shelley  was  stoned  as  a heresiarch;  and  that  the  even 
more  remote  rationalistic  age,  of  which  Mr.  Shaw  was 
once  the  exponent,  hailed  the  author  of  Queen  Mab  as 


XXII 


INTRODUCTION 


“ a pioneer.”  Shelley,  of  course,  was  the  apotheosis 
of  the  ordinary  Protestant  Englishman  of  his  day.  His 
lack  of  humor ; his  hatred  of  “ priestcraft  ” ; his  ex- 
aggerated interest  in,  and  respect  for,  science ; his  keen 
sense  of  justice;  his  passionate  loyalty  to  blunt  truth; 
his  engaging  and  embarrassing  candor  — are  all  quali- 
ties, good,  bad  and  indifferent,  which  mark  the  nine- 
teenth-century Englishman.  Shelley’s  subservience  to 
Godwin  — the  dirtiest  wittol  that  was  ever  mistaken  for 
a philosopher  — should  alone  have  given  the  key  to  his 
character,  that  of  a man  not  at  all  skilled  in  ideas, 
with  no  temper  or  taste  for  independent  thought,  and 
an  infinite  capacity  for  obedience,  a capacity  which,  in 
the  disorganised  intellectual  state  of  Europe,  had  got 
no  proper  object,  and  so  ran  into  bondage  to  any 
plausible  and  pernicious  mountebank.1 

But  Shelley,  in  all  this,  is  typical,  perhaps  slightly 
in  anticipation,  of  that  nineteenth-century  English- 
man who  followed  many  prophets  to  many  different 
hills,  and  then  prepared  for  the  master’s  offering  many 
different  sacrifices.  The  nineteenth  century  was  a time 
of  great  men,  of  heroes,  as  one  of  the  loudest  of  its 
prophets  would  declare,  not  because  its  great  men  were 
greater  than  those  of  other  epochs  — but  because  there 
was  a vast  and  growing  body  of  smaller  men  who  de- 
manded heroes  and  hero-worship.  That  worship,  the 
antithesis  of  true  freedom  in  thought,  was  given  lav- 

1 I am  not  forgetting  the  extremely  early  age  at  which  Shelley  died. 
It  would  not  really  even  be  necessary  to  discuss  his  philosophy  seri- 
ously, if  it  had  not  been  for  the  mistaken  efforts  of  his  admirers  to 
push  into  prominence  what  was,  after  all,  only  the  ill-digested  thoughts 
of  a precocious  and  easily  influenced  boy.  The  gift  for  supreme  lyrical 
poetry  goes  but  rarely  with  any  aptitude  for  deep  thinking;  and 
Shelley,  had  he  lived  to  maturity,  would  have  been  content  with  the 
crown  that  is  inalienably  his. 


INTRODUCTION 


xxiii 


ishly;  it  annoyed  or  amused  the  really  great,  men  like 
Thackeray  or  Browning;  it  spoiled  the  lesser  great, 
such  as  Carlyle  or  Bradlaugh  or  Tennyson ; and  a few, 
men  of  that  singular  modesty  that  only  goes  with  su- 
preme genius,  Scott  and  Darwin  and  Newman,  man- 
aged somehow  to  evade  the  tribute  of  folly  and  homage. 

Peer  Gynt  sums  up  all  this  misdirected  talent  for 
obedience  and  credulity  in  a way  that  no  other  char- 
acter in  literature  does.  From  the  nature  of  the  poem 
his  heroes  are  not  men,  but  men’s  opinions ; things 
half-remembered  and  never  really  grasped,  phrases  and 
axioms  and  saws  that  Peer  can  only  apply  as  if  he 
was  a figure  in  a folk-tale,  not  use  as  would  a real 
person  in  a genuine  crisis. 

This  characteristic  of  his,  besides  ensuring  for  Peer 
Gynt  a permanence  of  interest  to  the  student,  only 
second  to  that  of  Antigone,  Medea  or  Hamlet,  adds 
enormously  to  the  vivid  power  of  the  play,  as  a study 
of  human  nature.  Some  may  find  Peer’s  never-ceasing 
adaptability,  his  readiness  in  all  crises,  to  be  at  first 
a hindrance  to  getting  any  true  grasp  of  his  character ; 
but  as  the  play  goes  on,  its  truth  and  certainty,  illus- 
trated as  it  is  by  each  instance  of  untruth  and  uncer- 
tainty, grip  yet  more  and  more ; and  when  action  draws 
to  its  close,  through  the  wonderful,  hanging  mist  of 
that  early  Whitsun  morn,  one  feels  not  only  the  truth 
of  Peer’s  infinite  and  changing  variety,  but  also  the 
truth  of  his  fixed  and  certain  centre,  his  love  for,  and 
his  dependence  on  Solveig. 

One  turns  gladly  to  the  lighter  elements  in  Peer’s 
character,  and  to  the  good  side  of  his  lying  and  dream- 
ing. Is  there  any  great  poem  that  has  a gayer,  more 


XXIV 


INTRODUCTION 


lovable  hero?  Odysseus  alone,  to  my  mind,  can  com- 
pare with  the  ragged,  cheerful,  impudent  rascal  of  the 
first  three  acts.  The  incomparable  ending  of  its  first 
scene  — the  quick  changes  in  the  wedding  scene,  from 
gay  to  grave,  from  frivolous  to  bitter,  from  farce  to 
tragedy,  are  all  made  possible  and  plausible  by  the 
chameleon  character  of  the  hero.  Most  readers  are 
embarrassed  by  Peer’s  portly  and  pompous  appearance 
at  the  beginning  of  Act  IV,  but  I believe  the  abrupt 
change  to  be  artistically  sound.  Nothing  less  sudden 
and  startling  would  have  given  us  a true  idea  of  the 
degree  and  nature  of  Peer’s  downward  course.  The 
comic  power  of  the  poem  is  as  admirable  as  the  deep 
and  rarer  note  of  tragedy  and  gloom,  and  is  sustained 
with  as  sure  a precision.  There  is  no  modern  book, 
except  the  Pilgrim's  Progress,  so  full  of  the  spirit 
of  adventure,  and  at  the  same  time  so  full  of  the  real 
stuff  of  life  and  poetry:  there  are  scenes  in  Peer  Gynt 
that  Dumas  might  have  conceived  and  Butler  written 
— there  are  others  that  no  one  but  Ibsen  could  have 
either  conceived  or  written,  that  place  Peer  Gynt  above 
Faust,  and  its  author  above  all  modern  poets  save  the 
author  of  The  Ring  and  the  Booh. 

It  is  worthy  of  notice  that  Peer’s  lightness  and 
gaiety  of  nature,  his  variety  and  multi-colored  charm, 
render  possible  the  flamboyant  and  decorative  excesses 
of  the  poem.  For  me  Act  IV,  though  it  may  have  been 
an  afterthought,  is  a vital  and  essential  part  of  the 
poem.  Without  it  Peer  Gynt  would  not  be  the  supreme 
poem  it  is;  and  I fancy  that  those  critics  who  have 
been  disposed  to  frown  on  its  exuberance  have  not 
paused  to  think  how  much  would  be  lost  if  we  cut  out 
the  episodes  in  the  Desert,  the  scenes  with  Anitra,  and 


INTRODUCTION 


XXV 


the  frantic  happenings  in  Egypt.  I do  not  see  how 
else  Ibsen  could  have  given  to  Peer  that  spirit  of  cos- 
mopolitanism, that  false  air  of  civilized  security  which 
the  hero  has  to  attain,  before  he  completes  his  history. 
Before  excising  any  scene  as  unnecessary  or  superflu- 
ous, before  removing  any  character  as  impertinent  and 
unwanted,  let  the  reader  consider  whether  that  scene 
or  that  character  does  not  interpret  yet  another  mood 
of  Peer  Gynt,  does  not  illuminate  yet  another  corner 
in  his  shifty  soul.  I do  not  say  the  treatment  of  every 
character  is  satisfactory  — there  are  many  signs  of 
haste  both  in  the  Fourth  and  Fifth  Acts  — but  there 
is  no  character  and  no  scene  with  which  any  one  who 
really  understands  the  poem  would  willingly  dispense. 

IV 

Of  the  other  characters  in  the  book  only  two  demand 
any  detailed  notice  — Ase  and  Solveig.  I would  just 
point  out  how  decisive  and  firm  is  the  drawing  of  In- 
grid, a character  who  looks  back  to  Hjordis  and  for- 
ward to  Hedda  — how  admirably  Mads  Moen  is  given 
us  in  the  three  or  four  lines  he  speaks  in  the  First  Act, 
and  his  drunken  maudlin  sentences  in  the  Fifth  — and 
how  supremely,  in  the  Anitra  episode,  Ibsen  fashions 
that  particular  form  of  sexual  silliness  which  overtakes 
middle-aged  gentlemen  of  doubtful  pasts.  Anitra  — 
again  she  has  but  a few  lines  to  speak  — is  as  vivid  as 
Fanny  Wilton,  and  as  real  as  one  of  the  little  manag- 
ing baggages  of  the  Restoration  drama.  But  the  minor 
characters  must  yield  in  interest,  as  they  do  in  impor- 
tance, to  Peer’s  mother  and  to  his  bride. 

That  Ibsen  used  his  own  mother  as  the  model  for 


XXVI 


INTRODUCTION 


Åse  was  of  more  interest  to  him  than  to  us ; what  is 
supremely  exciting  about  the  portrait  of  Åse,  and  the 
picture  of  her  relations  with  Peer,  is  that  for  the  first 
time  in  literature  we  have  portrayed  the  love  of  a 
mother  and  son  without  any  sentiment  and  without  any 
falsehood.  Here  Ibsen  owes  a good  deal  to  his  having 
adopted  the  old  folk-tale  which  makes  Peer  a country 
lad ; and  he  adds  himself  two  other  advantages : he 
makes  Åse  a widow,  and  poor.  For  the  country  poor 
in  all  nations  have  a frankness  of  speech  and  a candor 
in  their  relations  that  is  unknown  in  other  classes. 
This  candor  is  not  at  all  incompatible  with  kindness, 
but  it  allows  itself  a freedom  of  intercourse  that  seems 
incredible  to  the  more  sophisticated  town-dweller. 

Åse  is,  from  her  first  appearance,  dominant,  eager, 
quick,  susceptible  and  loving.  She  will  abuse  Peer  — 
no  one  else  may : she  will  beat  him  — and  any  one  else 
who  tries  to  do  so.  She  will  call  him  liar,  and  repeat 
his  lies  proudly  to  new  acquaintances.  In  spite  of  her 
angry,  petulant,  extravagant  behavior,  Solveig  goes 
naturally  to  her  for  information  about  Peer ; and  finds 
nothing  in  what  she  hears  that  does  not  strengthen  her 
desire  to  go  to  the  outcast.  Åse,  it  is  true,  suffers  from 
Peer’s  own  complaint.  She  dreams,  and  thinks  her 
dreams  are  realities ; but  she  has  a firmer  basis  than 
Peer  has ; her  life  has  one  purpose,  at  any  rate,  which 
Peer  lacks  until  he  meets  Solveig,  her  purpose  to  care 
for  and  shield  her  boy.  That  is  real:  and  that 
triumphs. 

The  deliberate,  beautiful  cobweb-spinning  of  the 
death-scene  it  is  impossible  to  treat  roughly.  The  scene 
is  always  compared  to  the  death  of  Brand’s  mother, 
and  generally  there  is  a note  of  blame  for  Peer  as  com- 


INTRODUCTION 


XXVll 


pared  with  the  stark  prophet  of  “ All  or  Nothing.” 
Yet  is  this  quite  fair?  Peer  has  just  come  through,  by 
evasion  — but  by  an  evasion  that  has  cost  him  real 
agony  — the  greatest  torture  of  his  life  — and  can  we 
expect  that  he,  or  any  other  human  being,  should  not 
look  around  for  an  anodyne  against  the  overwhelming 
pain?  He  finds  it  there,  by  the  poor  truckle-bed  where 
his  mother  lies  dying:  with  all  the  skill  of  his  craft 
he  beguiles,  he  lies  — if  you  will  — the  old  woman  into 
the  arms  of  death.  It  is  not  heroic:  and  yet  would 
any  other  behavior  have  been  half  as  adequate,  half 
as  real  and  essentially  true,  with  such  a case  as  Åse? 

She  herself  is  full  of  nothing  but  anxiety  for  her 
son;  and  only  so,  only  by  recalling  his  youth  and  her 
younger  days,  can  Peer  prevent  her  from  dwelling  on 
the  tragic  business  of  Ingrid  and  the  outlawry. 

Ibsen’s  creative  style  is  shown  at  its  highest  by  the 
manner  in  which  Ase’s  character  is  built  up  by  its 
contact  with  others.  Not  only  by  description,  not 
only  by  her  son’s  laughing  or  indignant  comment,  not 
only  by  her  own  speeches  does  Åse  gradually  display 
herself.  In  her  brief,  abrupt  retorts  to  Aslak  and 
Ingrid’s  father,  in  the  kind  of  awed  condescension  with 
which  she  speaks  to  Solveig’s  father,  and  in  the  proud 
mother-spirit  of  her  replies  to  Solveig  herself  — in  all 
these  we  gain,  with  each  sentence,  almost  with  each 
word,  further  insight  into  her  character.  Then  how 
admirably,  in  the  scene  with  Kari,  are  we  allowed  to  see 
Åse  in  her  own  proper  position,  evidenced  by  the  re- 
spect shown  by  Kari  to  her,  even  in  her  lamentable 
misfortune?  This  art  of  revealing  one  character  by 
the  aid  of  another,  to  make  each  trivial  incident  and 
word  have  its  due  effect  in  the  whole,  is  one  of  the 


xxviii  INTRODUCTION 


greatest  secrets  of  the  supreme  dramatist  or  novelist, 
and  it  is  one  which  Ibsen  mastered  early,  and  used  with 
an  effect  and  an  art  that  have  never  been  excelled  and 
rarely  equalled. 

I have  heard  it  objected  to  Solveig  that  her  charac- 
ter is  stationary.  I have  already  discussed  the  same 
objection  as  applied  to  Peer,  and  the  same  answer 
serves,  with  a difference,  for  Solveig.  The  chief  differ- 
ence is  that  Solveig  is  more  of  a lyrical  than  an  epic 
character.  She,  perhaps,  reminds  one  most  of  those 
splendid  people  in  Browning’s  supremest  poems,  such 
as  the  Duchess,  or  the  Lady  of  The  Statue  and  the 
Bust,  or  Christina  — people  who  are  almost  violently 
individual,  and  yet  also  sum  up  a moral,  an  emotion,  an 
ideal. 

Solveig  is  stationary.  That  is  her  saga.  But  it  is 
not  right  to  say  that  Solveig  at  seventy  is  the  same 
as  Solveig  at  seventeen;  no,  rather  Solveig  at  seven- 
teen is  the  same  as  Solveig  at  seventy.  At  her  first 
meeting  with  Peer  she  is  his  wife,  his  love,  his  guardian 
— guardian  not  of  his  actions,  nor  of  his  errant 
thoughts,  nor  of  his  wanton  dreams ; they  belong  to 
Ingrid,  or  the  Farm-Girls  or  the  Green-Clad  One  — 
but  guardian  of  that  greater  and  more  real  self,  which 
only  exists  in  her,  and  for  her,  and  through  her.  What 
Ibsen  means  — what  so  many  of  his  critics  have  so 
grossly  missed  — by  that  sentence,  “ In  my  faith,  in 
my  hope,  in  my  love  art  thou,”  is  not  that  Peer  is 
rescued  from  his  disastrous  past  by  Solveig’s  love,  but 
that  there  has  never  been  any  other  Peer  than  the  one 
who  fell  in  love  with  Solveig.  That  is  all  there  is  that 
is  real  in  him,  all  that  is  true,  all  that  is  permanent. 
And  nothing  can  alter  the  fact  that  this  has  been,  and 


INTRODUCTION 


XXIX 


therefore  is.  This  love  is  the  only  element  in  him 
that  has  reality  or  permanence,  and  nothing  can  de- 
stroy what  has  once  really  existed.  Love  is  eternal; 
that  is,  it  belongs  to  a sphere  and  an  order  where 
decay  is  not,  outside  time  and  beyond  peace.  This 
may  be  unpalatable  to  some  who  have  called  themselves 
Ibsenites,  but  it  is  the  plain  meaning  of  Solveig  and 
Peer,  and  it  is  frequently  enunciated  in  other  plays  of 
Ibsen.  It  is  this  which  renders  true  what  I have  said 
above,  but  the  Solveig  of  the  first  meeting  is  really 
the  Solveig  of  the  climax.  She  is  the  only  person  in 
the  play  who  is,  all  through,  belonging  to  the  things 
that  are  not  seen,  to  the  things  that  are  eternal ; and 
in  touching  her  Peer  Gynt  has  laid  hold  on  the  pro- 
fundities, and  no  Button-Molder  can  ever  retain  him. 

Solveig’s  person  is  as  beautiful  to  me  as  Solveig’s 
place  in  the  play.  I know  no  scene  to  excel  that  poig- 
nant episode  in  the  Third  Act  when  she  comes  over  the 
snow  to  the  outlawed  Peer.  In  simplicity,  in  sweetness, 
and  in  directness  of  appeal  those  few  pages  challenge 
comparison  with  any  love-scene  in  any  literature. 
Ibsen,  writing  in  Italy,  manages  to  combine  the  fresh- 
ness and  vigor  of  his  native  north  with  the  charm 
and  glow  of  the  south,  and  we  have  this  beautiful  scene 
where  passion  does  not  forget  to  be  tender,  and  love 
burns  with  the  bright  and  splendid  flame  of  desire. 

After  that  Third  Act,  after  the  parting,  we  only  see 
Solveig  once  before  the  end.  With  a contrast  almost 
stunning,  Ibsen  breaks  into  the  riot  and  wanton  waste 
of  the  hot  African  scenes,  and  for  a minute  shows  us 
Solveig  sitting  lonely,  singing  the  song  of  the  home- 
coming, the  home-coming  of  Peer  who  has  just  been 
abandoned  by  Anitra,  and  is  on  his  way  to  the  mad- 
house. 


XXX 


INTRODUCTION 


There  is  no  need  to  enlarge  on  the  climax  of  the 
poem,  when  Peer  at  last  “ comes  home.”  There,  in  the 
hut,  Solveig  has  waited,  secure  in  the  reality  of  Love 
— knowing  that  the  only  judgment,  when  it  is  uttered, 
will  be  the  proclamation  of  her  Peer  against  the  world’s 
Peer,  will  be  to  call  back  to  life  the  boy  who  has  wan- 
dered so  far  away.  There  she  sits,  with  her  trans- 
valuation of  all  values ; skilled  is  she  in  the  use  of  the 
only  transcending  and  reforming  power  in  the  world, 
sure  in  her  wisdom,  confident  in  her  right.  And  the 
last  challenge  of  the  Button-Molder,  which  Peer  will 
have  to  meet  one  day,  can  be  met  with  boldness  and 
assurance ; for  Peer,  if  he  has  not  found  his  sin-list, 
has  found  himself,  and  in  the  discovery  of  self,  follows 
the  discovery  of  sin,  and  with  that  discovery,  self- 
deception  has  an  end. 


V 

I return,  then,  to  where  I began,  the  greatness  and 
significance  of  personality.  It  was  his  vivid  sense  of 
this  which  made  Ibsen  so  hostile  to  institutions  and 
organizations,  so  nearly  anarchist  in  his  views  about 
the  State  and  society.  But  he  was  saved  from  the 
excess  of  this  anarchy  by  the  poet  in  him  — that  in 
his  nature  which  made  him  aware  that  there  is  no  such 
thing  as  a lonely  personality.  When  a man  is  abso- 
lutely alone,  he  dies.  From  this  it  is  but  a step  to  the 
further  realization  that  man  can  only  perfectly  realize 
himself  by  his  relations  with  his  fellows.  For  Ibsen 
this  relation  was  heightened  — and,  if  you  will,  hal- 
lowed — into  the  one  supreme  relation  of  Love.  Be- 
side that  fact,  all  others,  even  the  power  of  hate  (how 


INTRODUCTION 


XXXI 


wretched  is  the  “ converted  ” and  bitter  Einar  of 
Brand),  fail:  no  doubt  this  is  a weakness  in  Ibsen, 
this  strong  sense  of  one  truth;  but  it  also  accounts 
for  the  depth  and  reality  of  his  work.  He  had  seen 
the  sun,  and  he  had  no  patience  or  time  to  praise  the 
stars  and  the  moon.  He  knew  that  there  was  one  thing 
necessary ; and  so  he  ignores  the  things  that  are  merely 
desirable  or  convenient.  Tolstoy,  who  has  been  himself 
accused  of  over-idealism,  complained  at  the  publication 
of  “ When  We  Dead  Awaken,”  that  Ibsen  was  getting 
too  far  away  from  the  drab  facts  of  life,  the  struggle 
and  the  need  for  bread  and  water.  Can  we  not  see  in 
this  complaint  a shadow  of  a suspicion  that,  in  spite 
of  his  apparently  incongruous  life,  the  Norwegian  had 
been  more  faithful  to  the  centre  than  he  had  himself? 
The  generations  to  come  may  ignore  much  of  Ibsen’s 
work.  They  may  be  neglectful  of  his  problems,  of  his 
realism,  of  his  grim  and  sardonic  humor;  but  one 
thing  they  will  assuredly  remember  and  reward,  his 
single-eyed  devotion  to  truth  and  reality.  And  of  all 
his  plays,  while  others  may  give  intenser  and  minuter 
pictures  of  men  and  women,  Peer  Gynt  presents,  in  the 
most  vivid  and  enduring  form,  the  poet’s  vision  of  Life. 

VI 

The  chief  aim  of  this  translation  of  Peer  Gynt  is  to 
give  some  idea  of  that  luxuriant  complexity  of  rhyme 
and  metre  which  marks  the  original.  I have  endeav- 
ored to  be  as  literal  as  possible;  but  have  abandoned 
mere  fidelity  without  hesitation,  when  the  effect  was  too 
unnatural  or  displeasing.  I fear  many  readers  may 
think,  even  as  it  is,  I have  occasionally  been  too  bold. 


XXX11 


INTRODUCTION 


The  metres  I have  tried  to  render  exactly  throughout 
the  play. 

The  rhyme-schemes  I have  generally  kept  to,  in  sus- 
tained lyrical  or  ironic  monologues,  such  as  Ase’s  speech 
when  searching  for  Peer;  Peer’s  dreamy  vision  of  renais- 
sance; his  agony  over  the  disaster  to  the  yacht;  and 
the  other  soliloquies  in  the  Fourth  Act.  Also  in  the 
death-scene  of  Åse ; in  the  thread-ball  scene,  and  in  the 
final  pages  I have  kept  as  closely  as  possible  to  the 
Norwegian.  In  such  narrative  passages  as  occur  in 
the  first  scene  of  all  I have  allowed  myself  greater 
freedom,  as  the  sequence  of  rhymes  in  the  original 
strikes  me  as  haphazard  or  merely  dictated  by  expedi- 
ency and  facility. 

I have  generally  represented  treble  or  double  rhymes 
by  treble  and  double  rhymes  in  my  translation;  but 
with  regard  to  such  a pair  of  words  as  “ løgne  ” 
“ øgne,”  I thought  it  would  be  pedantic  to  refuse  the 
obvious  “ lies  ” “ eyes.” 

As  most  readers  of  this  book  will  know,  there  has 
been  only  one  previous  version  of  Peer  Gynt  — that 
by  Mr.  William  and  Mr.  Charles  Archer.  I may  as 
well  state  at  the  outset,  that  without  that  version,  mine 
would  never  have  been  attempted  or  accomplished. 
Their  version  was  almost  my  first  introduction  to  Ibsen ; 
and  there  was  a time  when  I knew  much  of  it  by  heart. 
Their  translation  is,  of  course,  as  literal  as  was  con- 
sistent with  preserving  the  metres  of  the  original ; mine 
is  hampered  by  also  keeping  the  rhymes.  Yet  when, 
as  is  so  often  the  case,  a plain  forcible  rendering,  used 
by  Messrs.  Archer,  suits  my  version,  I have  not  fumbled 
about  to  discover  a phrasing  that  should  be  merely 
different. 


INTRODUCTION 


xxxiii 


I have  to  thank  the  late  Mr.  Stanley  Makower  for 
encouragement  and  a few  very  useful  suggestions ; and 
to  Mr.  William  Archer  I owe  a debt  in  return  for  in- 
formation freely  placed  at  my  disposal,  and  for  his 
generous  attitude  to  my  translation. 


PEER  GYNT 


THE  PERSONS 


Åse,  a farmer’s  widow 
Peer  Gynt,  her  son 
Two  Old  Women 
Aslak,  a smith 

Wedding  Guests,  Kitchen-Master,  Fiddler,  &c. 

A Newcomer  and  his  Wife 

Solveig  and  Little  Helga,  their  daughters 

The  Farmer  at  Hegstad 

Ingrid,  his  daughter 

The  Bridegroom  and  his  Parents 

Three  Out-Farm  Girls  (Sæter-Girls) 

A Green-Clad  Woman 
The  Old  Man  of  the  Dovre 
A Troll  Courtier 

Troll  Women  and  Troll  Imps.  Two  Witches. 

Nixies,  Bogies,  Hob-Goblins,  &c. 

An  Ugly  Brat.  A Voice  in  the  Darkness.  Bird 
Cries 

Kari,  a cottar's  widow 
Master  Cotton 
Monsieur  Ballon 
Herr  v.  Eberkopf 
Herr  v.  Trumpeterstråle 
A Thief  and  a Receiver 
Anitra,  a Sheik's  daughter 
Arabs,  Slaves,  Dancing-Girls,  &c. 


> Travelling  Gentlemen 


4 


PEER  GYNT 


Memnon’s  Statue,  a singing  character 
The  Sphinx  of  Gizeh,  persona  muta 
Begriefenfeedt,  Professor,  Ph.D.,  head  of  the 
lunatic  asylum  at  Cairo 

Huhu,  a language  reformer  from  the  coast  of  Malabar 
Hussein,  an  Oriental  Minister  of  State 
A Feeeah,  with  a Royal  Mummy 
A Norwegian  Skipper  and  his  Crew 
A Strange  Passenger 
A Priest 
Mourners 
A Bailiff 
A Button-Molder 
A Lean  One 


PEER  GYNT 


THE  FIRST  ACT 

SCENE  ONE 

A wooded  hillside  near  Ase’s  farm.  A river  rushes 
down  the  hill.  An  old  mill-shed  on  the  further  side  of 
the  river.  It  is  a hot  summer  day. 

Peer  Gynt,  a sturdy  youth  of  twenty,  comes  down  the 
path.  Åse,  his  mother,  small  and  slight,  follows.  She 
is  scolding  angrily. 

Åse 

Peer,  you  ’re  lying. 
peer  gynt  (without  stopping) 

No!  Not  I! 

ÅSE 

If  your  story ’s  true,  swear  to  it ! 

PEER  GYNT 

Why  should  I swear? 

Åse 

You  dare  not  do  it ! 

It ’s  a lie,  a lie,  a lie ! 
peer  gynt  ( stopping ) 

Each  blessed  word  of  it  is  true. 

Åse  ( facing  him ) 

How  can  you  face  your  mother?  You  — ! 

Just  when  work  is  worst,  you  rush 
Off  to  hunt  thro’  snow  and  slush; 


6 


PEER  GYNT 


[act  i 


Then  with  clothes  in  rags  and  tatters 
Home  you  come ; and  what  more  matters, 
Lose  your  gun  and  kill  no  game: 

And  with  round  and  innocent  eyes 
Want  me  to  believe  your  lame 
Catalogue  of  hunter’s  lies  ! — 

Where  was  it  on  the  buck  you  strayed? 

PEER  GYNT 

West  by  Gendin. 

Åse  ( laughing  scornfully) 

Really,  yes? 

PEER  GYNT 

In  the  storm  the  alders  sway’d ; 

There  the  buck,  behind  the  row, 

Scraped  for  lichen  in  the  mess 

Of  the  slush 

Åse  (as  before) 

Yes?  Really,  yes? 

PEER  GYNT 

Breathlessly,  I stood  and  listened, 

Heard  his  hard  hoof  crunch  the  snow; 
Saw  where  one  great  antler  glistened: 
Then  I dropped  amid  the  boulders, 

On  my  belly  crawled,  so  quiet 
Where  from  ’vantage  I could  spy  at 
Such  a buck ! so  big ! such  shoulders 
Larger  than  any 

ÅSE 

Oh!  I know, 

Much,  much  larger. 

PEER  GYNT 

Bang!  and  down 


SCENE  i] 


PEER  GYNT 


7 


Dropped  the  deer  upon  the  snow. 
Scarcely  had  he  fallen,  when  lo ! 

I was  sitting  him  astride 
With  his  left  ear  in  my  grasp : 

And  had  plunged,  right  to  the  hasp, 
Where  the  neck  and  skull  divide, 

My  keen  blade,  when  with  a cry, 

To  his  feet  the  huge  brute  leaping, 
Jerked  his  head  back,  quickly  sweeping 
Knife  and  sheath  away.  My  thigh 
And  my  legs  were  squeezed  so  tightly ; 
With  his  horns  he  held  and  gripped  me, 
Like  a pair  of  tongs  he  nipped  me  — 
Thus,  as  quick  as  said,  we  two 
Rushed  along  the  edge ! — or  flew ! 

Åse  ( involuntarily ) 

Jesus  ! Save  us  ! Save 

PEER  GYNT 

Have  you 

Seen  the  Gendin-Edge?  So  lightly 
Like  a scythe,  straight  on  it  stretches, 
Stretches  on  for  nigh  four  miles. 

Over  screes  the  vision  fetches, 

Over  glaciers,  landslips,  piles 
Of  grey  rubble,  then  it  rests 
On  the  sluggish  tarns  that  sleep 
Far  below  the  mountain-crests, 

Tarns  seven  hundred  fathom  deep ! 

On  the  edge  the  buck  and  I 
Cut  our  pathway  through  the  sky. 

Such  a colt  I ne’er  bestrode! 

’Fore  us ’t  was  as  though  there  hung 
Suns  that  shone,  as  on  we  swung. 


8 


PEER  GYNT 


[act  i 


We  saw  many  an  eagle  float 
Brown-backt  on  his  dizzy  road 
’Twixt  the  tarn  and  us ; and  then 
Dwindle  to  a sun-fleckt  mote, 

As  we  passed  him.  On  the  shore 
Ice-floes  crashed:  I heard  no  sound. 

Only  I heard,  as  in  a swound, 

Giddy  sprites  that  danced  around, 

Danced  and  sang  and  danced  again, 

Danced  to  where  they  were  before! 

Åse  {dizzy) 

God  preserve  me! 

PEER  GYNT 

In  my  face, 

At  a hopeless  break-neck  place, 

Up  there  rose  a ptarmigan, 

Flapping,  clucking,  terrified, 

Whence ’t  was  hidden  on  a ledge 
Near  the  buck’s  feet  on  the  edge. 

Then  the  buck  swerved  round  and  shying. 

First  to  scale  the  heavens  trying, 

Plunged  right  down,  down,  buck  and  man ! 

( Åse  totters  and  clutches  at  a tree  trunk.  Peer  Gynt 
goes  on) 

Mountains,  black,  behind  uprist, 

Yawned  the  plumbless  deep  below! 

First  we  clove  through  banks  of  mist. 

Then  we  broke,  like  driven  snow, 

Gulls,  which,  as  their  flock  was  parted 
Here  and  there  with  screamings  started. 

Downward,  downward  still  we  darted! 

Something  whitish  glistened  there 
’Neath  us  like  deer’s  belly-fur. 


SCENE  i] 


PEER  GYNT 


9 


Our  reflexion,  mother,  dear  ! 

Mirror’d  in  the  waters  clear, 

Rushing  to  the  tarn’s  smooth  face 
At  the  same  tremendous  pace 
That  we  sought  the  deep’s  embrace! 

Åse  ( gasping  for  breath ) 

Peer ! God  help  me ! Quick ! What  more  ? 

PEEK  GYNT 

Buck  from  over,  buck  from  under, 

Met  and  elasht  like  rolling  thunder, 

All  about  us  foam-flecks  dashing. 

There  we  lay,  my  mother,  splashing; 

But  we  made  the  northern  shore 
Somehow  at  the  last : the  buck,  he 
Swam  and  I clung  fast  behind  him. 

I ran  homewards 


ÅSE 


The  deer,  ducky? 


PEER  GYNT 

May  be  in  the  self-same  spot; 

( Snaps  his  fingers,  turns  on  his  heel,  and  adds ) 
You  may  keep  him,  if  you  find  him ! 

Åse 

And  your  neck  is  sound?  You ’ve  not 
Smasht  completely  both  your  thighs? 

Sure  you  haven’t  broke  your  spine? 

Lord!  To  Thee  my  thanks  shall  rise, 

Thee,  who  helped  this  boy  of  mine ! 

True  a rent  in  pants  and  coat  is ; 

But  that ’s  hardly  worthy  notice, 

When  one  thinks  that  anything 
Might  have  come  from  such  a spring! 


10 


PEER  GYNT 


[act  i 


( Stops  suddenly,  looks  at  him  open-mouthed  and  star- 
ing, cannot  find  words  at  first,  and  finally  hursts  out ) 
Oh!  what  friends’  tales  you ’ve  been  spinning! 

Holy  Cross  ! what  lies  you  tell ! 

All  this  screed,  from  the  beginning, 

You  would  stuff  me  with,  I knew  it 
As  a girl,  I knew  it  well. 

It  was  Gudbrand  Glesne,  who  it 
Happen’d  to,  not  you 

PEER  GYNT 

Me  too. 

Such  a thing  again  might  happen. 

Åse 

Yes,  a lie  turned  upside-down 
Can  be  brushed  to  look  like  new ; 

None  can  tell  its  carcase  brown 
When  it  has  fine  clothes  to  wrap  in. 

That  is  just  what  you ’ve  been  doing, 

Yamping  up  these  tales  of  ruin; 

Then  with  eagles’  backs  you  garnisht 
And  with  other  terrors  varnisht, 

Jesting  there  and  lying  here 
Till  I held  my  breath  for  fear, 

And  I knew  not  what  of  old, 

As  a girl,  I had  been  told ! 

PEER  GYNT 

Oh ! If  any  other  said 

Things  like  that,  I ’d  well-nigh  slay  him ! 

Åse  ( weeping ) 

Would  to  God  that  I lay  dead, 

Dead,  and  ’neath  the  black  earth  dreaming: 

Prayers  and  tears  can  never  slay  him  — 

Peer ! you  ’re  lost  beyond  redeeming. 


SCENE  i] 


PEER  GYNT 


11 


PEEK  GYNT 

Darling,  pretty  mummikins, 
You  are  right  about  my  sins: 

There ! be  nice,  be  happy 

Åse 


Peace ! 

How  can  I have  happiness, 

I,  with  such  a swine  for  son? 

Shame  and  scorn,  beyond  denial 
Are  to  me  a grievous  trial, 

Me,  a widow,  poor  and  lone.  ( W eeping  again) 
What  have  we  now  of  the  glory 
Left  us  by  your  grandsire  hoary? 

Where  are  now  the  piles  of  gold 
Rasmus  Gynt  acquired  of  old? 

In  your  father’s  time  they  wander’d 
Off ; like  sand  the  cash  he  squander’d ; 

Buying  acres  near  and  far, 

Driving  in  a golden  car. 

Where  is  all  the  wealth  in  vain  spent 
At  that  famous  entertainment, 

When  each  guest  sent  bottles  reeling 
At  the  wall,  or  to  the  ceiling? 

PEEK  GYNT 

Where ’s  the  snow  of  yester-year? 

Åse 

Hold  your  tongue  before  your  mother ! 

See  the  farm-house!  Every  other 
Pane  is  stuffed  with  clouts.  And  here 
Hedges  flat,  and  gates  a-rattle, 

Rain  and  cold  beat  on  the  cattle, 

Fields  and  meadows  lying  fallow; 

Every  month  a new  distraint  is 


12 


PEER  GYNT 


[act  i 


PEER  GYNT 

Cease  these  foolish  tales  to  holloa ! 

Just  when  fortune  down  and  faint  is, 

Up  she  leaps  as  high  as  ever ! 

ÅSE 

If  the  soil  is  salt-strewn,  never. 

Lord ! But  you  ’re  a mighty  lad ! 

Just  as  brisk  and  just  as  bad, 

Just  as  bold  as  when  the  Vicar 
Fresh  from  Copenhagen  College 
Asked  your  name,  and  swore  your  knowledge 
Would  do  credit  to  a prince; 

Not  a prince  could  answer  quicker! 

And  your  poor  dear  father,  since 
He  was  pleased  with  Hum  and  pap, 

Gave  the  man  a horse  and  trap. 

Then  ’t  was  fun  and  feasting  great ! 

Parson,  captain  and  the  others 
Day  by  day  would  eat  and  swill, 

Stuffing  till  they  nigh  got  ill. 

But  ’t  is  need  such  friendship  smothers. 

All  was  still  and  desolate 

On  the  day  that  “ Nothing-lack  John  ” 

Went  out  with  his  pedlar’s  pack  on. 

( Wipes  her  eyes  with  her  apron) 

Peer ! you  ’re  big  and  strong  of  arm, 

You  should  be  a prop  and  stay 
To  your  mother’s  failing  day, 

You  should  manage  field  and  farm, 

Guard  the  remnant  that ’s  your  own ; — 

( Weeping  once  more) 

All ! God  help  me,  nought  but  harm 
Have  you  brought  to  me,  you  drone ! 


SCENE  i] 


PEER  GYNT 


13 


Lounging  lazy  by  the  ingle, 

With  the  coal  the  hearth-stone  sharing; 
Or,  at  feasts  where  young  folks  mingle, 
All  the  lasses  you ’d  be  scaring. 
Everywhere  you  shame  and  mock  me. 
Then  your  fights  with  rascals  shock  me  - 
peer  gynt  ( turning  away) 

Let  me  be ! 

Åse  ( following ) 

Dare  you  deny 

You  were  chief  among  the  rabble 
In  that  mighty,  famous  squabble 
Fought  at  Lunde,  wThen  the  men 
Raged  like  crazy  dogs?  That  then 
It  was  you  — or  p’raps  ’t  was  I ! — 
Broke  Smith  Aslak’s  arm  — at  least 
Put  his  finger  out,  you  beast! 

PEER  GYNT 

Who  has  fill’d  you  with  such  lies? 

Åse  {hotly) 

Kari  heard  the  yells  and  thumping! 
peer  gynt  {rubbing  his  elbow) 

Yes,  you  might  have  heard  my  cries. 

Åse 

Yours? 

PEER  GYNT 

Yes,  mine.  I got  a clumping. 

ÅSE 

What? 

PEER  GYNT 
ÅSE 

Who  is? 


Well,  he ’s  a lusty  fellow. 


14 


PEER  GYNT 


[act  i 


PEER  GYNT 


Aslak  made  me  bellow. 

ÅSE 

Shame  — and  shame ! 0 take  mj  curses ! 

Oh!  to  think  that  mj  son  worse  is 

Than  a sot,  a wastrel,  drunken 

Beast  in  profligacy  sunken.  ( Weeping  again) 

Shame  is  mine ; things  go  amiss ; 

But  that  this  should  happen,  this 
Beats  all  other  miseries ! 

Tho’  the  smith  is  lusty,  need  he, 

Peer,  my  son,  be  weak  and  weedy? 

PEER  GYNT 

Whether  I am  beat  or  beating 

Still  complaints  you  ’ll  be  repeating.  (Laughing) 

Cheer  up 

ÅSE 


What?  again  you  ’re  lying? 


PEER  GYNT 

Yes;  but  just  this  once,  my  mother. 
Dry  your  eyes  and  stop  your  crying 
( Clenches  his  left  hand) 

With  this  fellow  and  no  other 
I held  Aslak,  tightly;  plying 
My  right  like  a hammer’s  blows. 

Åse 

O,  you  scamp,  with  feats  like  those 
You  ’ll  bring  me  to  the  tomb! 

PEER  GYNT 

No:  you  ’re  worth  a better  doom, 
Much,  much  better  shall  befall  you. 
Little  ugly  mother  dear, 

You  can  trust  me,  never  fear 


SCENE  i] 


PEER  GYNT 


15 


All  the  place  a queen  shall  call  you ; 
Only  wait  till  I,  victorious, 

Do  some  — well,  do  something  glorious  ! 
Åse  ( contemptuously ) 

You ! 

PEER  GYNT 

None  knows  how  fortune  flits. 


ÅSE 

Could  you  ever  have  the  wits 

One  day  so  to  sew  the  stitches 

That  you  need  to  mend  your  breeches ! 

PEER  GYNT  ( hotly ) 

I will  be  a king,  a kaiser ! 

ÅSE 

Oh ! the  boy ’s  but  little  wiser 
Than  a fool.  God  pity  me ! 

PEER  GYNT 

Give  me  time  and  you  shall  see ! 

ÅSE 

King,  we  sing,  he  ’ll  be  in  time, 

So,  I think,  runs  the  old  rhyme ! 

PEER  GYNT 

Mother,  wait! 

ÅSE 


0 ! stop  your  chatter 
You  ’re  as  mad  as  any  hatter.  — 

Ah ! and  yet  there ’s  truth  enough  — 
Something  once  you  might,  with  trying, 
Have  achieved,  but  for  your  lying 
And  your  dreaming  trash  and  stuff. 
Hegstad’s  girl  was  fond  of  you. 

Had  you  only  wished  to  wed  her 
To  the  church  you  could  have  led  her. 


16 


PEER  GYNT 


[act  i 


PEER  GYNT 

What? 

ÅSE 

Her  father,  old  and  mumbling, 
Can’t  stop  what  she  wants  to  do. 

In  a way  he ’s  obstinate ; 

But ’t  is  Ingrid,  soon  or  late, 

Rules  him ; ’t  is  the  daughter  who 
Leads  the  gaffer  slowly,  grumbling. 

( Beginning  to  weep  again ) 

Peer ! she ’s  rich  beyond  reporting  — 
Lands,  entailed ! Ah ! think,  the  pity ! 

If  you ’d  woo’d,  as  though  it  matter’d, 
You ’d  have  been  a bridegroom  pretty, 
You  who  stand  here  grimed  and  tatter’d! 
peer  gynt  ( briskly ) 

Come  then!  We  will  go  a-courting! 

Åse 

Where  ? 

PEER  GYNT 

At  Hegstad ! 

Åse 

There,  poor  dear, 
Is  no  way  for  suitors  clear ! 

PEER  GYNT 

How  is  that? 

Åse 

’T  is  all  in  vain,  dear ! 
Luck  returns  not  what  she  spills  — 

PEER  GYNT 

Speak,  quick ! 

Åse  ( sobbing ) 


On  the  Western  hills 


SCENE  i] 


PEER  GYNT 


17 


While  in  air  you  hunted  reindeer, 

Here ’s  Mads  Moen  won  the  heiress ! 

PEER  GYNT 

What ! That  woman’s  bug-bear ! Mads  ? 

ÅSE 

Yes ; he ’s  going  to  wed  the  lass. 

PEER  GYNT 

Just  a moment  to  find  where  is, 

Horse  and  cart — {Going) 

ÅSE 

Your  trouble  spare, 

For  the  wedding  is  to-morrow 

PEER  GYNT 

Pooh ! this  evening  I ’ll  be  there ! 

ÅSE 

Shame  now!  Would  you  crown  our  sorrow 
With  a load  of  scorn  and  spite? 

PEER  GYNT 

Nonsense;  it  will  be  all  right. 

{Shouting  and  laughing  at  the  same  time) 
We’ll  not  drive.  Quick,  jump  up!  There! 

’T  would  take  time  to  fetch  the  mare 

{Lifts  her  in  his  arms) 

ÅSE 

Put  me  down ! 

PEER  GYNT 

Nay,  on  my  arm 
I will  bear  you  to  the  wedding ! 

( Wades  out  into  the  river) 

ÅSE 

Help  ! God  keep  us  safe  from  harm ! 

Peer ! We  ’re  drowning. 


18 


PEER  GYNT 


[act  i 


PEER  GYNT 

No:  I’m  heading 

For  a nobler  death! 

Åse 

Aye,  true ! 

Hanging  is  the  fate  for  you!  ( Pulling  his  hair ) 
Oh ! you  beast ! you 

PEER  GYNT 

Now,  take  care. 

Here  the  bottom ’s  smooth  and  slippy. 

Åse 
Ass  ! 

PEER  GYNT 

Oh  yes  ! abuse  and  swear ; 

None ’s  the  worse  for  that.  Now  grip!  I 
Clamber  slow  as  it  goes  up. 

Åse 

Oh ! don’t  drop  me ! 

PEER  GYNT 

Hello ! Hop ! 

We  will  play  at  Peer  and  reindeer,  — 

I ’m  the  reindeer,  ( curvetting ) you  are  I. 

ÅSE 

Oh ! I ’m  going  mad ! I ’ll  die ! 

PEER  GYNT 

Now  we  reach  the  shore  again,  dear.  {Wades  ashore ) 
Won’t  you  give  the  deer  a kiss, 

Thanks  for  carrying  of  you 

Åse  {boxing  his  ears) 


Is  my  thanks ! 


This 


SCENE  i] 


PEER  GYNT 


19 


PEER  GYNT 

Ow ! Ow ! I say 
That  is  miserable  pay. 

ÅSE 

Put  me  down! 

PEER  GYNT 

To  Hegstad  first. 

Be  my  spokesman.  You’re  so  elever; 

Talk  to  him,  the  gaffer  curst ; 

Say  Mads  Moen ’s  useless,  never 

Åse 

Put  me  down ! 

PEER  GYNT 

And,  when  all ’s  told, 

That  Peer  Gynt ’s  a lad  of  gold. 

ÅSE 

Yes:  I ’ll  do  that,  you  may  swear! 

Fine ’s  the  character  you  ’ll  bear. 

I will  draw  you  full  and  truly 
All  your  devil’s-pranks  unruly 
I will  tell  them  plain  and  straight 

PEER  GYNT 

Oho ! 

Åse  ( kicking  with  rage ) 

My  tongue  shall  go  on  telling 
Till  the  dog ’s  set  on  you  yelling 
As  a tramp  at  Hegstad  gate ! 

PEER  GYNT 

H’m ! Then  I must  go  alone. 

Åse 

Yes,  but  quickly  I ’ll  pursue  you ! 

PEER  GYNT 

You ’ve  not  strength.  The  walk  will  do  you 


20 


PEER  GYNT 


[act  i 


ÅSE 

Strength?  I ’m  wroth  in  such  a fashion 
I could  smash  the  hardest  stone! 

I could  eat  flints  in  my  passion! 

Put  me  down ! 

PEER  GYNT 

Well,  promise,  dear 

Åse 

Nothing!  I will  go  with  you. 

They  shall  have  a portrait  true ! 

PEER  GYNT 

Mother,  you  just  must  stop  here. 

Åse 

No,  I ’ll  go  with  you,  I will. 

PEER  GYNT 

Never ! 

ÅSE 

How  can  you  prevent  me? 


PEER  GYNT 

I will  perch  you  on  the  mill. 

( Puts  her  up  on  the  roof ; Åse  screams ) 
Åse 

Let  me  down. 

PEER  GYNT 


Åse 

Rubbish ! 

PEER  GYNT 


If  you  ’ll  consent,  my 


Please,  now,  mother  fair 

Åse  ( throwing  a sod  of  grass  at  him) 

Let  me  down  this  instant,  Peer! 

PEER  GYNT 

If  I dared,  be  sure  I would.  ( Comes  nearer) 


SCENE  i] 


PEER  GYNT 


21 


Don’t  forget,  sit  still  and  good ; 

Do  not  tug  the  tiles,  nor  tear ! 

Do  not  sprawl ; take  care  of  tripping  — 
Else  you  may  fare  ill,  come  slipping, 
Toppling  down. 

ÅSE 

You  utter  brute ! 

PEEK  GYNT 

Do  not  kick! 

Åse 

Would  God  you’d  shoot 
Like  a changeling  through  creation ! 

PEEK  GYNT 

Oh!  tut! 

Åse 

Bah! 


PEER  GYNT 


Give  to  my  wooing 
Benison  and  approbation. 

Do! 

ÅSE 


I ’ll  give  you  such  a beating, 

Though  jmu  are  so  big  and  strong! 

PEER  GYNT 

Well,  farewell,  though  not  for  long! 

Patience,  soon  will  be  our  meeting. 

(Is  going,  but  turns,  holds  up  his  finger  warningly 
and  says ) 

Do  not  sprawl  to  your  undoing!  (Goes  out ) 

ÅSE 

Peer ! God  help  me ! Off  he ’s  prancing ! 
Reindeer-rider ! Liar ! Hi ! 

Will  you  listen?  No,  he ’s  dancing 


22 


PEER  GYNT 


[act  i 


O’er  the  meadow!  ( Screaming ) Help!  I ’m  dizzy. 
[ Two  Old  Women,  with  sacks  on  their  hacks,  come 
down  the  path  to  the  mill. 

FIRST  OLD  WOMAN 

Lord!  who ’s  screaming? 

Åse 

It  is  I! 

SECOND  OLD  WOMAN 

Åse ! well  you  are  on  high ! 

Åse 

I ’ll  go  higher  by  and  by : 

Soon  for  heaven  I shall  be  busy. 

FIRST  OLD  WOMAN 

Bless  your  passing! 

ÅSE 

Fetch  a ladder! 

Down  I ’m  coming ! That  fiend  Peer ! to  — ! 

SECOND  OLD  WOMAN 

Your  son ! 

Åse 

He  never  did  a madder 
Trick  than  this,  which  you  can  swear  to. 

FIRST  OLD  WOMAN 

We  ’ll  bear  witness. 

Åse 

Help  me  down,  then! 

And  to  Hegstad  quick  I ’ll  fare  — 

SECOND  OLD  WOMAN 

Is  he  there? 

FIRST  OLD  WOMAN 

You’ll  get  your  own,  then, 

Back,  for  Aslak  Smith  goes  there. 


SCENE  II] 


PEER  GYNT 


23 


Åse  ( wringing  her  hands) 

Ah ! God  help  me,  ere  they  ’ve  done 
They  will  kill  my  only  son ! 

FIRST  OED  WOMAN 

Oh ! that  lot  has  oft  been  fear’d ; 

Cheer  up ! he  must  dree  his  weird. 

SECOND  OLD  WOMAN 

Is  she  in  her  senses  still?  ( Calls  up  the  hill) 

Here,  you  two ! And  any  other  — 
man’s  voice 
What ’s  wrong? 
second  old  woman 

Peer  Gynt’s  percht  his  mother 
On  the  roof  of  the  old  mill! 

SCENE  TWO 

A hillside  covered  with  hushes  and  heather.  The 
highroad  runs  behind  it;  and  there  is  a fence  between. 

Peer  Gynt  comes  along  a path,  goes  briskly  to  the 
fence,  stops  and  looks  out  over  the  prospect. 

PEER  GYNT 

Yonder  lies  Hegstad.  Soon  I shall  win  there. 

( Half  clambers  over  the  fence ; then  hesitates) 

Is  she,  is  Ingrid  alone  and  within  there? 

( Shades  his  eyes  and  looks  out) 

No.  To  the  house  the  guests  swarm  up  the  track, 
Well,  perhaps  now  it  were  wisest  returning. 

( Draws  back  his  leg) 

Still  they  titter  behind  one’s  back 
And  whisper,  and  then  through  your  soul  it  goes 
burning. 


PEER  GYNT 


[act  i 


24 


( Goes  away  from  the  fence  a few  steps,  and  plucks 
leaves  absently) 

Ah ! if  I ’d  only  a drop  to  be  drinking 

Or  else,  if  I could  only  go  unseen. 

Or  else  were  unknown  — but  the  best  thing,  I ween, 
Is  drink,  for  the  jeers  then  don’t  set  a man  shrinking. 
( Looks  around  as  though  afraid;  then  hides  among 
the  bushes ; some  Wedding  Guests  pass  on  their 
way  to  the  farm) 
a man  ( conversing ) 

His  father  a drunkard,  his  mother  so  weak. 

A WOMAN 

A wastrel  the  boy,  nor ’s  the  reason  to  seek. 

\The  Guests  go  on.  Presently  Peer  Gynt  comes  for- 
ward. He  is  flushed  with  shame,  and  peers  after 
them. 

PEER  GYNT  ( Softly ) 

Was  it  me  they  were  meaning?  ( With  a forced  shrug) 

Oh ! let  them  chatter ! 
They  can’t  talk  me  dead,  and  what  does  the  rest 
matter? 

( Throws  himself  down  on  the  heather;  lies  on  his 
back  with  his  hands  under  his  head  and  gazes  up  into 
the  sky) 

What  a curious  cloud ! How  like  to  a mare ! 

There ’s  a man  on  it  too  — and  bridle  — and  saddle. 
And  behind  an  old  crone,  on  a broomstick  a-straddle ! 
( Laughs  quietly  to  himself) 

It ’s  mother.  She ’s  screaming  and  shrieking:  hi, 
Peer ! 

You  ’re  a brute  — Ah ! now  fear  stops  her  holloas.  — 
(His  eyes  gradually  close) 

Peer  Gynt  rides  the  first,  then  a multitude  follows. 


SCENE  n] 


PEER  GYNT 


25 


His  horse  is  with  gold  and  with  silver  a-shining. 
Peer  wears  a long  cloak,  with  a fine  silken  lining. 
Gauntlets  he  has  and  a scabbard  and  sabre. 

Of  the  riders  behind  each  is  fine  as  his  neighbor. 
None  of  them  though,  for  the  riding  is  fitter. 

None  is  like  Peer  in  the  sun,  all  a-glitter. 

Down  by  the  fence  stand  the  people,  a-cluster, 
Lifting  their  hats,  gazing  up  in  a fluster. 

Women  are  curtseying.  Every  one  hails  him. 
Kaiser  Peer  Gynt  and  his  troop  that  ne’er  fails  him. 
Many  a sixpence  and  many  a shilling 
Throws  he,  that  all  may  their  pockets  be  filling. 

Each  richer  far  than  he  e’er  hoped  to  be,  grows. 
Then  Peer  in  his  majesty  over  the  sea  goes. 
Engelland’s  prince  on  the  shore  stands  to  greet 
him. 

Engelland’s  maidens  are  waiting  to  meet  him, 
Engelland’s  nobles  and  Engelland’s  Kaiser; 

See  Peer  at  high-table,  no  king  there  a wiser; 

The  Kaiser,  with  crown  off,  begins  to  speak,  “ I 
Sir  ” 

aslak  the  smith  ( t o some  others  who  are  passing 
along  the  road ) 

Look  there  is  Peer  Gynt,  the  drunken  swine ! 
peer  gynt  ( starting  half  up) 

What  ? Kaiser ! 

aslak  ( leaning  over  the  fence  and  grinning) 

Get  up  Peer,  bully  mine! 

peer  gynt 

What  the  devil ! The  smith ! What  d’  you  want  with 
me? 

aslak  (to  the  others) 

His  mind  must  still  run  on  our  Lunde  spree. 


26 


PEER  GYNT 


[^ct  i 


peek  gynt  ( springing  up) 

You ’d  better  clear  out! 

ASEAK 

I am  going,  there ! 

But  where  do  you  spring  from?  Tell  us,  Peer! 

Six  weeks  away!  Was  it  the  hill-trolls’  snare? 

PEER  GYNT 

Aslak  Smith,  the  most  singular  deeds  have  I done. 
aseak  {winking  to  the  others) 

Tell  us  them,  Peer! 

PEER  GYNT 

No:  never  a one. 

aslak  {after  a pause) 

You  ’re  going  to  Hegstad? 

PEER  GYNT 

No. 

ASLAK 

They  say 

There  was  a time  when  the  girl  lookt  your  way. 

PEER  GYNT 

You  smutty  crow ! 

aseak  {falling  back  a little) 

Don’t  be  hasty,  lad; 
Though  Ingrid ’s  jilted  you,  more  can  be  had; 
Think,  son  of  John  Gynt!  Come  on  to  the  feast; 
Pretty  lambs  will  be  there  or  a widow  at  least 

PEER  GYNT 

To  hell ! 

ASLAK 

You  will  surely  find  one  who  will  marry 

Good-night,  your  respects  to  the  bride  we  ’ll 
carry. 

[ They  go,  laughing  and  whispering. 


SCENE  II] 


PEER  GYNT 


27 


peer  Gynt  ( looJcs  after  them  for  a while,  makes  a de- 
fiant motion  and  turns  half  round ) 

Ingrid  may  marry,  for  all  I ’m  caring, 

With  whom  she  will.  I ’ll  not  envy  him! 

( Looks  at  himself ) 

My  pants  are  torn.  I ’m  ragged  and  grim. 

If  now  I had  something  new  to  be  wearing. 

(i Stamps  on  the  ground ) 

Could  I but  with  a butcher’s  grip 

Pluck  out  their  disdain  and  far  away  throw  it ! 

( Looks  round  suddenly ) 

What  was  that?  Who  titter’d,  and  then  tried  to 
slip ? 

I thought  I heard  some  one.  No.  No  one.  I know 
it. 

I ’ll  go  home  to  mother. 

( Begins  to  go  upwards,  hut  stops  again,  and  listens 
towards  Hegstad ) 

Dance  music ’s  begun ! 

( Gazes  and  listens ; moves  downwards  slowly;  his 
eyes  glisten ; he  rubs  his  hands  on  his  thighs ) 

Each  man  has  eight  partners ! the  girls  so  are 
swarming ! 

Ah,  galloping  death,  I must  join  in  the  fun! 

But,  mother,  up  on  the  mill-roof  storming 

(His  eyes  are  drawn  towards  Hegstad  again;  he 
leaps  and  laughs ) 

Hi!  o’er  the  common  the  barn-dance  is  flying! 

Aye,  Guttorm,  he  can  make  his  fiddle  give  a 
Booming  and  rush,  like  the  spate  on  a river ! 

And  the  girls  each  with  other  in  loveliness  vying ! — 
Yes,  galloping  death,  I must  join  in  the  fun! 

(Leaps  over  the  fence  and  goes  down  the  road ) 


28 


PEER  GYNT 


[act  i 


SCENE  THREE 

The  farm-place  at  Hegstad.  At  the  hack  the  house. 
A throng  of  guests.  There ’s  lively  dancing  on  the 
green.  The  Fiddler  sits  on  the  table.  The  Kitchen- 
Master  stands  in  the  doorway.  Cookmaids  go  to  and 
fro  between  the  buildings.  Elderly  people  sit  here 
and  there  conversing. 

a woman  ( goes  to  a group  that  is  sitting  on  some  logs 
of  wood) 

The  bride?  Oh!  yes,  she’s  crying  a little; 

But  who  minds  that  on  the  bridal  day? 
kitchen-master  (in  another  group ) 

Fill  up  now,  sirs,  and  drink  deeply!  It  ’ll 

A MAN 

Thanks!  You  are  good.  That’s  enough,  I say! 
a lad  (to  the  Fiddler,  as  he  flies  past,  holding  a girl 
by  the  hand) 

Ha ! then  Guttorm,  don’t  fiddle  charily ! 

THE  GIRL 

Scrape,  till  it  sings  o’er  the  meadows  merrily! 
girls  (in  a ring,  round  a lad  dancing) 

There ’s  a brave  fling ! 

A GIRL 

His  legs  are  the  spryest. 

the  lad  (dancing) 

Here  the  walls  are  wide,  and  the  roof  of  the  highest ! 
bridegroom  (whimpering,  comes  up  to  his  Father,  who 
is  talking  to  some  other  men,  and  pulls  his  coat) 
Father,  she  will  not ; she  is  so  proud ! 
his  father 

What  will  she  not? 


SCENE  III] 


PEER  GYNT 


29 


BRIDEGROOM 

She  has  lockt  herself  in. 

HIS  FATHER 

Well,  find  the  key  and  an  entrance  win. 

BRIDEGROOM 

I can’t. 

HIS  FATHER 

You  ’re  a fool,  so  easily  cow’d! 

( Turns  away  to  the  others  again;  the  Bridegroom 
drifts  across  the  place ) 
a lad  ( coming  from  behind  the  house ) 

Girls,  here ’s  the  chap  to  make  iest  and  fun  of  you! 

Peer  Gynt ! 

aslak  (who  has  just  come  up) 

Who  asked  him? 

KITCHEN-MASTER 

Not  I,  nor  none  of  you. 

( Goes  to  the  house) 

Aslak  (to  the  Girls) 

If  he  should  speak  to  you,  mind  a snub  throw  him. 
girl  (to  the  others) 

Yes ; we  ’ll  pretend  we  don’t  even  know  him. 
peer  gynt  (comes  lively  and  heated,  stops  in  front  of 
the  group , and  claps  his  hands) 

Come  along!  which  is  the  liveliest  one  of  you? 
a girl  (as  he  approaches  her) 

I am  not. 

another  (similarly) 

I am  not. 

A THIRD 

No;  nor  I,  thank  you. 

PEER  GYNT  (to  U fourth) 

For  lack  of  a better,  come  out  of  the  rank,  you. 


30 


PEER  GYNT 


[act  i 


THE  GIRL 

Have  n’t  the  time. 

PEER  GYNT  ( to  the  fifth) 

You? 

the  girl  {going) 

Homewards  I go. 

PEER  GYNT 

To-night!  Are  you  raving,  and  out  of  your  senses? 
aslak  {a  moment  after,  in  a low  voice) 

She ’s  gone  with  an  old  man ; her  answer  pretence  is. 
peer  gynt  {turns  sharply  to  an  elderly  man) 

Where  are  the  unbespoke  girls ! 

THE  MAN 

I don’t  know.  ( Goes  away  from  him) 

[Peer  Gynt  has  become  subdued.  He  glances  shyly 
and  furtively  at  the  group.  All  look  at  him;  but  no 
one  speaks.  He  approaches  other  groups.  Wherever 
he  comes,  there  is  silence;  when  he  goes,  they  smile 
and  look  after  him. 

PEER  GYNT  ( Softly ) 

Glances,  and  thoughts  keen  as  needles,  and  smiles. 
They  grate,  as  do  saw-edges  under  the  files ! 

{He  slinks  along  by  the  fence;  Solveig,  holding 
Little  Helga  by  the  hand,  comes  into  the  farm-place 
with  her  Parents) 

a man  {to  another  close  to  Peer  Gynt) 

See  here  are  the  new  folk ! 

THE  OTHER 

From  west,  afar? 

THE  MAN 

Yes,  the  people  from  Hedal. 

THE  OTHER 

So  they  are. 


SCENE  III] 


PEER  GYNT 


31 


peer  Gynt  {place s himself  in  front  of  the  new  folk, 
points  to  Solveig,  and  asks  the  man ) 

May  I dance  with  your  daughter? 
the  man  ( quietly ) 

You  may  do,  but  first 

We  must  go  to  the  house  and  greet  our  hostess. 

[ They  go  on. 

kitchen-master  ( t o Peer  Gynt,  offering  him  a drink) 
As  you  have  come,  drink  deep  to  whatever  the  toast  is  ! 
peer  gynt  {looking  fixedly  at  the  new  comers) 

Thanks.  I ’d  dance  sooner.  I ’ve  not  got  a thirst. 

[ The  KitchenrM aster  goes  away. 
peer  gynt  ( looks  towards  the  house  and  laughs) 

How  fair!  Saw  you  ever  one  so  sweet? 

Looking  shy  at  her  shoes ! and  as  they  tarried, 

She  held  to  her  mother’s  petticoat-pleat, 

And  a hymn-book  wrapt  in  her  kerchief  carried ! 

I must  seek  her.  {Going  into  the  house) 
a ead  {coming  out  with  several  others) 

Hallo!  Hi!  Peer,  how  is  this? 

You  ’re  leaving? 

PEER  GYNT 

No. 

THE  LAD 

Then  you  ’re  heading  amiss  ! 
{Takes  him  hy  the  shoulders  to  turn  him  round) 

PEER  GYNT 

Let  me  pass ! 

THE  LAD 

Is  it  Aslak  the  Smith  you  ’re  afraid  of? 

PEER  GYNT 

Afraid,  I? 


32 


PEER  GYNT 


[act  i 


THE  LAD 

At  Lunde  we  saw  what  you  ’re  made  of ! 
[ The  group  laugh  and  go  to  the  dancing-green. 
Solveig  ( in  the  doorway ) 

Are  you  not  the  lad  who  was  wanting  to  dance? 

PEER  GYNT 

Of  course  I am:  don’t  you  remember  my  glance? 

( Takes  her  hand ) 

Come  along. 

SOLVEIG 

Not  very  far,  mother  said. 

PEER  GYNT 

Mother  said?  Mother  said!  When  were  you  born? 

SOLVEIG 

You  ’re  laughing  — — - 

PEER  GYNT 

You  ’re  only  a babe,  I ’ll  be  sworn ! 
Are  you  grown  up? 

SOLVEIG 

Last  spring  with  the  vicar  I read. 

PEER  GYNT 

Tell  me  your  name,  lass,  and  then  we  ’ll  talk  lightlier. 

SOLVEIG 

My  name  is  Solveig.  And  what  call  they  you? 

PEER  GYNT 

Peer  Gynt. 

Solveig  ( looses  her  hand) 

Oh ! heavens ! 

peer  gycnt 

Why,  what  would  you  do? 

SOLVEIG 

My  garter  is  loose.  I must  tie  it  up  tightlier. 

( Goes  away) 


SCENE  III] 


PEER  GYNT 


33 


bridegroom  ( pullmg  at  his  mother ) 

Mother,  she  will  not ! 

HIS  MOTHER 

She  will  not?  what? 

BRIDEGROOM 

She  won’t,  mother ! 

MOTHER 

What? 

BRIDEGROOM 

Give  me  the  key. 

his  father  ( softly  and  angrily ) 

Shove  the  boy  in  a stall ; he ’s  not  fit  to  go  free ! 
his  mother 

No,  don’t  scold  him.  Poor  dear,  he  ’ll  get  over  that. 
[They  go  away. 

a ead  ( coming  with  a whole  crowd  of  others  from  the 
dancing-green) 

Peer,  have  some  brandy? 
peer  gynt 

No. 

EAD 

Not  a drain? 

peer  gynt  ( looking  darkly  at  him ) 

Have  you  got  any,  then? 

LAD 

What,  rather ! You  spy  it? 
( Pulls  out  a flask  and  drinks ) 

Ah!  how  it  stings  me  ! Well? 

PEER  GYNT 

Let  me  try  it!  ( Drinks ) 

another 

Now  try  mine,  Peer,  as  well. 


34 


PEER  GYNT 


[act  i 


PEER  GYNT 

Not  I,  not  again! 

ANOTHER 

What  rot ! To  stop  now  were  the  act  of  an  ass ! 
Drink,  Peer ! 

PEER  GYNT 

Well,  yes,  just  a glimpse  at  the  glass. 
( Drinks  again ) 
a gire  ( half  aloud ) 

Come,  let  us  go  ! 

PEER  GYNT 

Are  you  frightened  of  me? 

THIRD  LAD 

Who  is  n’t  afraid  of  you  ! 

A FOURTH 

Think  on  that  one  day 
You  show’d  us  what  tricks  you  could  do  at  Lunde ! 

PEER  GYNT 

I can  do  more  than  that,  when  once  I get  free ! 
first  lad  ( whispering ) 

He ’s  getting  on  now ! 
several  ( gathering  round  him ) 

Tell  us  one  of  the  seven 

Great  stories 

PEER  GYNT 

To-morrow. 

OTHERS 

No ; now,  this  even ! 

A GIRL 

Can  you  conjure,  Peer? 

PEER  GYNT 

I can  raise  up  the  devil ! 


SCENE  III] 


PEER  GYNT 


35 


A MAN 

So  could  my  grandmother,  ere  I was  born ! 

PEER  GYNT 

Liar!  Where  I run  none  can  run  level! 

One  day  in  a nut  I put  Him  with  the  Horn. 

’T  was  worm-eaten,  you  see ! 
several  ( laughing ) 

Of  course  it  was. 

PEER  GYNT 

Then  he 

Cursed  and  wept  and  again  and  again  lie 
Promised  me  all 

ONE  OF  THE  CROWD 

But  he  had  to  go  in? 

PEER  GYNT 

Rather.  I stopped  up  the  hole  with  a pin. 

Hi!  You  should  have  heard  him  rumbling  and 
grumbling. 

A GIRL 

Only  think! 

PEER  GYNT 

It  was  just  like  a bumble-bee  bumbling. 

THE  GIRL 

Have  you  got  the  fiend  yet  in  the  nut? 

PEER  GYNT 

Why,  nay. 

By  now  the  devil  has  flown  on  his  way. 

It  is  his  fault,  the  smith  has  no  love  for  me. 

A LAD 

Why? 

PEER  GYNT 

Well,  I went  to  the  smith,  and : Look  here,  said  I, 
Do  you  mind  just  giving  this  nutshell  a cracking? 


36  PEER  GYNT  [act  i 

He  was  willing:  put  down  the  nut  for  a whacking; 
But  Aslak,  you  know,  is  so  heavy  of  hand  — 

Eor  ever  that  huge  sledge-hammer  swinging. — 
voice  ( from  the  crowd) 

Did  he  slaughter  the  devil? 

PEER  GYNT 

He  made  a fine  stand. 

But  the  devil  show’d  fight : like  a fiery  brand 
Through  the  roof  and  the  shatter’d  wall  went  winging. 

SEVERAL 

And  the  smith  ? 

PEER  GYNT 

Stood  there  with  his  hands  all  stinging 
And  since,  the  affair  in  my  face  has  been  flinging. 
[All  laugh. 

SOME 

The  tale  was  a brave  one ! 

OTHERS 

The  best  he  has  told ! 

PEER  GYNT 

D’  you  think  I invented  it  ? 

A MAN 

Oh ! no, 

You  are  free  from  that  charge;  I heard  it  of  old 
From  granddad 

PEER  GYNT 

You  liar!  I did  it,  just  so! 

THE  MAN 

Like  ev’rything  else. 
peer  gynt  (with  a fling) 

Ho ! I can  ride 

Right  through  the  air  on  a horse  of  gold ! 


SCENE  III] 


PEER  GYNT 


37 


And  many ’s  the  thing  I can  do  beside. 

[A  roar  of  laughter. 

ONE  OF  THE  CROWD 

Ride  through  the  air  a bit ! 

MANY 

Yes,  dear  Peer  Gynt 

PEER  GYNT 

Spare  your  vehement  pray’rs : to  them  all  I am  flint. 
I will  ride  like  a hurricane  over  the  crowd  of  you ! 

All  shall  fall  at  my  feet,  yea  the  most  proud  of  you ! 

AN  ELDEREY  MAN 

Now  he  is  frantic. 

ANOTHER 

Insolent ! 

A THIRD 

Ass ! 

A FOURTH 

Liar ! 

peer  gynt  ( threatening  them) 

You  wait  and  I ’ll  bring  things  to  pass 

man  ( half-tipsy ) 

Ay,  wait;  such  a pass  and  a jolly  surprise! 

Your  coat  dusted! 

OTHERS 

Back  bruised,  and  bunged-up  eyes ! 
[The  crowd  disperses,  the  elder  men  angry,  the 
younger  laughing  and  jeering. 
bridegroom  ( close  to  house ) 

Peer,  is  it  true  you  can  ride  through  the  air? 

PEER  GYNT  ( CUrtly ) 

Quite  true,  Mads.  I am  a rare  and  a game  one. 

BRIDEGROOM 

Have  you  got  the  invisible  cloak?  Is  it  there? 


38 


PEER  GYNT 


[act  i 


PEEE  GYNT 

The  hat  do  you  mean?  Yes,  I have  that  same  one. 

( Turns  away  from  him;  Solveig  crosses  the  yard, 
holding  Helga  by  the  hand) 
peee  gynt  ( goes  up  to  them,  a light  in  his  eyes) 
Solveig ! How  good ! You  have  come  again,  dear ! 

( Takes  hold  of  her  wrist) 

Now  I will  whirl  you  gaily  with  me! 

SOLVEIG 

Let  me  go ! 

PEEE  GYNT 

Why? 

SOLVEIG 

You  are  too  free! 

PEEE  GYNT 

When  summer  is  dawning,  then  free  is  the  reindeer ! 
Come  with  me,  lass : now  don’t  be  curst ! 

Solveig  ( looses  her  arm) 

I dare  not. 

PEEE  GYNT 

Why  not? 

SOLVEIG 

You  have  been  drinking. 

( Goes  away  with  Helga) 

PEEE  GYNT 

Ah ! if  I were  only  my  knife-blade  sinking 
Right  in  the  heart  of  them  — best  and  worst ! 
beidegeoom  ( nudging  him  with  his  elbow) 

Cannot  you  help  me  to  get  at  the  bride? 
peee  gynt  ( absently ) 

The  bride?  Where  is  she? 

BEIDEGEOOM 

In  the  storehouse. 


SCENE  III] 


PEER  GYNT 


39 


PEER  GYNT 

0! 

BRIDEGROOM 

Peer,  you  might  try  to  get  at  her ! 

PEER  GYNT 

No, 

You  won’t  have  my  help  to  get  inside. 

( A thought  comes  to  him:  he  sags  softly  and  sharply) 
Ingrid ! The  storehouse ! 

( Goes  up  to  Solveig) 

Will  you  still  leave  me? 

( Solveig  tries  to  go:  he  stands  in  her  way) 

You  ’re  ashamed  to  be  seen  with  a tramp  like  Peer. 
Solveig  ( hastily ) 

You  ’re  not  like  a tramp  in  the  least,  not  a bit! 

PEER  GYNT 

Yes ; and  I ’ve  had  just  a drop  too : but  it 

Was  only  for  spite,  to  spite  you  who  would  grieve  me. 

Come  then ! 

SOLVEIG 

Ev’n  if  I wisht  to,  I dare  not ! 

PEER  GYNT 

Whom  do  you  fear? 

SOLVEIG 

My  father. 

PEER  GYNT 

I see. 

Father?  I know.  He ’s  one  of  the  “ swear-not,” 
“ Touch-not,”  godly  crew?  What?  Answer  me! 

SOLVEIG 

How  shall  I answer? 

PEER  GYNT 

At  church  he  ne’er  misses? 


40  PEER  GYNT  [act  i 

And  your  mother  and  you  at  your  pray’rs  don’t 
cease  ? 

Pious  ones?  Answer! 

SOLVEIG 

Let  me  go  in  peace. 

PEER  GYNT 

No! 

( Drops  his  voice,  and  says  sharply  and  terrifyingly ) 
I can  change  myself  into  a troll ! 

I ’ll  come  when,  at  midnight,  the  church-clocks  toll. 
If  you  should  hear  something  that  spits  and  hisses, 
Don’t  fancy  it ’s  only  the  cat  or  the  kitten ! 

That  is  I,  girl.  I ’ll  drain  off  your  blood  in 
a cup, 

And  your  little  sister,  I ’ll  eat  her  right  up. 

Aye,  and  over  the  back  and  the  loins  you  ’ll  be 
bitten ; 

For  at  night  I ’m  a were-wolf  and  ravage  men. 
{Suddenly  changes  his  tone,  and  begs,  as  in  anguish 
and  dread) 

Dance,  Solveig! 

Solveig  {looking  darkly  at  him ) 

You  were  horrible  then. 

{She  goes  into  the  house) 
bridegroom  {sidling  up  again) 

You  shall  have  an  ox,  if  you  ’ll  help  me! 

PEER  GYNT 

Come ! 

[They  go  out  at  the  back  of  the  house.  At  the  same 
time  there  come  forward  a crowd  of  men  from  the 
dancing-green,  most  of  them  drunk.  Noise  and  hub- 
bub. Solveig,  Helga,  and  their  Parents  stand  among 
elderly  people  in  the  doorway. 


SCENE  III] 


PEER  GYNT 


41 


kitchen-master  ( to  Aslak,  who  is  foremost  of  the 
crowd) 

Keep  the  peace ! 
aslak  ( pulling  off  his  jacket) 

No;  here  is  the  ring  of  doom. 
Peer  Gynt  or  Aslak  must  have  a fall. 

SOME 

Yes,  let  them  fight! 

OTHERS 

Let  them  wrangle ; not  maul ! 

ASLAK 

Fists  must  decide;  it’s  that  way,  no  other. 

SOLVEIG’s  FATHER 

Control  yourself ! 

HELGA 

Will  they  beat  him,  mother? 

A LAD 

Let  us  rather  go  taunt  him  with  all  his  lies. 

ANOTHER 

Throw  him  out  of  the  feasting! 

A THIRD 

Spit  in  his  eyes ! 

a fourth  (to  Aslak) 

Don’t  give  in  now,  smith! 
aslak  (casting  away  his  jacket) 

The  ass  must  to  the  slaughter ! 
solveig’s  mother  (to  Solveig) 

Now  you  see  what  they  think  of  that  windbag, 
daughter ! 

Åse  (comes  up  with  a stick  in  her  hand) 

Is  that  son  of  mine  here?  Oh  ! he ’s  in  for  a drubbing ! 
Oh ! how  heartily  I will  dang  the  beast ! 


42 


PEER  GYNT 


[act  i 


aslak  ( rolling  up  his  shirt-sleeves) 

Pooh!  that  would  but  give  him  a gentle  rubbing. 

SOME 

The  smith  will  dang  him ! 

OTHERS 

Bang  the  beast! 

aslak  ( spits  on  his  hands  and  nods  to  Åse) 

Hang  the  beast! 

ÅSE 

What  say?  Hang  my  Peer?  Oh!  try  if  you  dare! 
Åse  has  teeth  and  claws  that  can  tear. 

Where  is  he?  ( Calls  across  the  yard) 

Peer ! 

BRIDEGROOM  ( runs  Up) 

Oh ! God’s  death  on  the  tree ! 
Come  father,  mother,  and 

THE  FATHER 

What  is  wrong  now? 

BRIDEGROOM 

Think,  Peer  Gynt ! 

Åse  ( screams ) 

Have  you  taken  my  boy  from  me  ? 

BRIDEGROOM 

No,  Peer  Gynt ! See  on  the  lull’s  brow ! 

MANY 

With  the  bride ! 

Ise  ( lets  her  stick  fall) 

O ! you  beast! 

aslak  (as  though  thunderstruck) 

See  the  precipice  drop  there ! 
He ’s  climbing  up,  my  God,  like  a kid ! 
bridegroom  (crying) 

He  shoulder’d  her  like  I do  a pig,  mother ; he  did ! 


SCENE  III] 


PEER  GYNT 


43 


Åse  ( shaking  her  fist  up  at  him ) 

O!  would  you  might  fall!  ( Screams  in  terror) 

Tread  with  care  on  the  top  there ! 
ingrid’s  father  ( comes  on,  bareheaded,  white  with 
rage) 

I ’ll  have  your  life  for  this  bride-rape  yet ! You ! 

ÅSE 

O ! no ! God  punish  me  if  I let  you ! 

END  OF  FIRST  ACT 


THE  SECOND  ACT 

SCENE  ONE 


A narrow  mountain  path,  high  up.  It  is  early  morn- 
ing. Peer  Gynt  comes  hastily  and  sullenly  along  the 
path.  Ingrid,  with  some  of  her  bridal  trappings  on, 
tries  to  hold  him  back. 

PEEK  GYNT 

Go! 

Ingrid  ( weeping ) 

Like  this?  What  are  you  saying? 

Whither  ? 

PEER  GYNT 

Where  you  will  for  me. 

Ingrid  ( wringing  her  hands) 

False  one ! 

PEER  GYNT 

Useless  tears  and  praying! 

Each  must  go  his  own  way,  free ! 

INGRID 

Sin  — and  sin  will  reunite  us  ! 

PEER  GYNT 

Devil  take  the  thoughts  that  bite  us ! 

Devil  take  all  girls  that  spite  us  — 

All  save  one  ! 

INGRID 

And  who  is  she,  dear? 

PEER  GYNT 

’T  is  not  you ! 


SCENE  i] 


PEER  GYNT 


45 


INGRID 

Who  is  it,  pray? 

PEER  GYNT 

Go ! Go  off  the  self-same  way  ! 

To  your  father ! 

INGRID 

This  to  me,  dear 1 ! 

PEER  GYNT 

Peace ! 

INGRID 

You  can’t  want  this  to  be,  dear; 
What  you  ’re  saying. 

PEER  GYNT 

Can  and  do. 

INGRID 

First  to  lure  and  then  forsake  me ! 

PEER  GYNT 

Well,  what  offer  can  you  make  me? 

INGRID 

Hegstad  Farm  and  more ’s  for  you. 

PEER  GYNT 

Where ’s  your  hymn-book?  Does  your  hair 
Swim,  like  gold,  o’er  neck  and  throat; 

Look  you  shyly  anywhere? 

Hold  your  mother’s  petticoat? 

Speak ! 

INGRID 

No;  but 

PEER  GYNT 

Then  with  the  Yicar 
Read  you  this  last  spring? 

INGRID 


No ; my 


46 


PEER  GYNT 


[act  II 


PEEK  GYNT 

Are  you  bashful  in  your  glances. 

When  I ask,  can  you  deny? 

INGRID 

Heav’ns ! ’t  is  one  of  his  mad  trances 

PEER  GYNT 

Does  your  presence  sanctify? 

Speak ! 

INGRID 

No 

PEER  GYNT 

Then,  why  all  this  bicker? 
Ingrid  ( stands  in  his  way) 

Know!  you  will,  if  you  forsake  me, 

Suffer. 

PEER  GYNT 

I don’t  care  a pin. 

INGRID 

You  may  goods  and  honor  win 
If  you  ’ll  have  me. 

PEER  GYNT 

They  won’t  make  me. 
Ingrid  ( bursting  into  tears) 

Oh,  you  lured  me ! 

PEER  GYNT 

You  were  willing. 

INGRID 

I was  desperate ! 

PEER  GYNT 

Frantic  I. 

Ingrid  ( threateningly) 

Oh ! the  price  you  ’ll  pay  is  high ! 


{Going) 


SCENE  II] 


PEER  GYNT 


47 


PEER  GYNT 

Glad  I ’d  pay  ten  thousand  shilling. 

INGRID 

Is  your  purpose  set? 

PEER  GYNT 

Like  stone. 

INGRID 

Good!  The  equal  fates  invite  us  ! ( Goes  downwards) 
peer  gynt  ( is  silent  for  a moment ; then  cries) 

Devil  take  all  thoughts  that  bite  us ! 

Devil  take  all  girls  that  spite  us ! 

Ingrid  ( turnmg  her  head,  and  calling  mockingly 
upwards) 

All  save  one ! 

PEER  GYNT 

Yes;  all  save  one! 

[ They  go;  each  a different  way. 

SCENE  TWO 

Near  a mountain-tarn;  the  ground  near  is  soft  and 
marshy.  Åse,  in  despair,  is  calling  and  looking  round 
her  on  all  sides.  Solveig  keeps  up  with  her  only  with 
difficulty.  Solveig’s  Father  and  Mother,  and  Helga  are 
some  way  behind. 

Åse  ( tossing  her  arms  and  tearing  her  hair) 

With  awesome  terrors  all  things  try  to  beat  me ! 
Heav’n,  waters,  the  hills  are  one  to  defeat  me! 

The  mists  from  the  heav’ns  roll  down  to  entrap  him ! 
The  treacherous  waters  in  wan  death  will  wrap  him ! 
And  the  hills,  with  landslips,  will  crush  him  to  powder ; 
And  the  people  cry  loud  for  his  blood,  and  louder ! 


48  PEER  GYNT  [act  ii 

God ! they  shan’t  have  it ! I can’t  live  apart  from 
him ! 

The  oaf!  That  the  fiend  should  thus  steal  his  heart 
from  him ! 

( Turns  to  Solveig) 

Now  isn’t  this  all  past  belief,  beyond  flying? 

He,  whose  whole  life  was  romancing  and  lying; 

He,  who  was  strong  — to  chatter  and  shirk ; 

He,  who  never  once  did  a bit  of  real  work: 

He  — Oh,  a body  could  both  laugh  and  cry ! — 

In  pain  and  in  need  we  clung  close,  he  and  I. 

Yes ; you  must  know  that  my  man  used  to  drink, 
Around  the  parish  for  gossip  would  slink, 

Wasted  and  threw  to  the  winds  all  our  stuff. 

And  meanwhile  sat  Peerkin  and  I,  all  day. 

The  best  thing  was  to  keep  memory  away; 

To  bear  up  under  all  I ’ve  found  hard  enough. 

It  ’s  a horrible  thing  to  look  fate  in  the  eyes ; 

And  of  course  one  would  gladly  try  and  shake  sor- 
row off, 

And  do  all  one  can  to  keep  thoughts  of  to-morrow  off. 
Some  take  to  brandy  and  some  take  to  lies; 

And  we  — well,  we  took  to  fairy-tales 
Of  princes  and  trolls  and  grim  beasts  with  scales. 
And  of  bride-rape  as  well.  But  who  could  have  said 
That  those  tales  of  the  fiend  would  stick  in  his 
head  ? 

( Terrified  again) 

Hu  ! what  a shriek ! It ’s  a nixie  or  bogie ! 

Peer ! Peer ! — On  that  hillock ! the  rogue,  he ! 

{Ru  ns  to  the  top  of  a little  rise,  and  looks  over  the 
tarn;  Solveig’’ s Parents  come  up) 

Not  a sign ! 


49 


scene  ii]  PEER  GYNT 

solveig’s  father  ( quietly ) 

It  is  worst  for  him,  your  boy. 

Åse  ( weeping ) 

Ah!  my  lost  lamb!  my  Peer!  my  joy! 
solveig’s  father  ( nods  mildly) 

Verily  lost. 

ÅSE 

No,  no ; he ’s  too  clever ! 

Don’t  tell  me.  You  ’ll  not  meet  his  equal  — never ! 
solveig’s  FATHER 
You  foolish  woman! 

ÅSE 

Oh ! yes,  quite,  quite ; 

I am  foolish ; but  the  boy ’s  all  right ! 
solveig’s  father  ( still  softly  and  with  mild  eyes) 

His  soul  is  lost ; his  heart  has  been  harden’d. 

Åse  (in  anguish) 

No!  Our  Lord  is  kind  and  Peer  ’ll  be  pardon’d! 
solveig’s  father. 

Think  you  he  can  feel  for  his  sinfulness  sorrow? 

Åse  (eagerly) 

No;  but  he’ll  ride  through  the  heavens  to-morrow! 
solveig’s  mother 
Lord!  are  you  mad? 
solveig’s  father 

What  do  you  mean,  dame? 

ÅSE 

No  deed ’s  too  hard  for  him.  No  game 

Too  risky,  you  ’ll  see,  if  he  only  lives  long  enough 

solveig’s  FATHER 

Best  if  you  saw  him  on  a gallows  strong  enough. 

Åse  (shrieks) 

0 ! Cross  of  Christ ! 


50 


PEER  GYNT 


[act  n 


solveig’s  father 

Neath  the  terrible  sentence 
It  might  be  his  heart  would  be  turn’d  to  repentance. 
Åse  ( bewildered ) 

O ! all  this  will  send  me  senseless  in  time ! 

We  must  find  him! 
solveig’s  father 

To  save  his  soul. 

ÅSE 

And  his  skin ! 

We  must  dredge  the  swamps,  for  fear  he ’s  fall’n  in ! 
And  if  he ’s  troll-taken,  the  church  bells  must  chime. 
solveig’s  father 

Hm  ! — here ’s  a cattle-path  — 

Åse 

God,  who  is  just, 

Repay  you ! 
solveig’s  father 

I do  but  what  Christians  must. 

ÅSE 

Fie ! The  rest  then  are  heathen ! who  would  not 
search 

But,  when  we  set  out,  left  us  all  in  the  lurch. 
solveig’s  father. 

They  all  knew  him  too  well. 

ÅSE 

He  was  better  than  they! 

( Wrings  her  hands ) 

And  think  — and  think,  may  be  killed  to-day ! 
solveig’s  father 

Here  are  tracks  of  a man! 

Åse 

’T  is  here  we  must  go. 


SCENE  III] 


PEER  GYNT 


51 


SOLVEIG  S FATHER 

Round  this  side  of  the  farm  we  will  scatter,  so. 
{He  and  his  wife  go  on) 
solveig  ( to  Åse) 

Go  on ! Tell  me  more ! 

Åse  {wiping  her  eyes) 

Of  my  son,  you  mean? 

solveig 


Yes. 


Tell  all! 

Åse  {smiles  and  tosses  her  head) 

All?  Soon  you ’d  tire,  I guess  ! 

SOLVEIG 

Sooner  by  far  in  telling  you  ’ll  tire 
Than  will  my  desire. 


SCENE  THREE 

Low,  treeless  heights  under  the  mountain-moorland ; 
peaks  afar  off.  The  shadows  are  long;  it  is  late  in  the 
day. 

Peer  Gynt  comes  running  at  full  speed,  and  stops  on 
the  hillside. 

PEER  GYNT 

All  the  parish  is  after  me  quick! 

Every  man  of  them  arm’d  with  a gun  or  a stick. 

In  front  I can  hear  the  old  Hegstad  churl  howling, 
Every  one  knows  that  Peer  Gynt ’s  out  and  prowl- 
ing.— 

This  is  different  far  from  a bout,  smith  with  Peer ! 
This  is  life ! In  each  limb  one  is  strong  as  a bear. 
{Strikes  out  and  springs  up  in  the  air) 

To  crush,  overturn  ! Stem  the  rush  of  the  river ! 


52 


PEER  GYNT 


[act  II 


To  beat!  Tear  up  firs,  till  the  lowest  roots  quiver! 
This  is  life ! This  both  hardens  and  lifts  one  higher ! 
To  hell  with  the  savorless  tales  of  the  liar! 
three  farm  girls  ( rush  across  the  hillside  screaming 
and  singing) 

Trolls  ! Bård  and  Kåre ! Hear  the  alarms,  dears ! 
Troll-pack!  Will  you  slumber  to-night  in  our  arms, 
dears  ? 

PEER  GYNT 

Whom  call  you? 

FARM  GIRLS 

The  trolls  of  the  night!  Of  the  night! 

FIRST  GIRL 

Trond,  come  with  kindness ! 

SECOND  GIRL 

Bård,  come  with  might ! 

THIRD  GIRL 

In  our  saeter  the  cots  are  empty  and  cry  for  us ! 

FIRST  GIRL 

Might  is  kindness ! 

SECOND  GIRL 

And  kindness  is  might ! 

THIRD  GIRL 

Lacking  lads,  we  must  play  with  the  trolls  of  the 
night ! 

PEER  GYNT 

Why,  where  are  the  lads,  then? 
the  three  ( with  a horse-laugh ) 

They  may  not  come  nigh  for  us ! 

FIRST  GIRL 

Mine  call’d  me  his  sweetheart,  his  darling,  his  life, 
Now  he ’s  taken  a grey-headed  widow  to  wife. 


SCENE  in] 


PEER  GYNT 


53 


SECOND  GIRL 

Mine  met  a gipsy-lass  up  the  far  North. 

Now  as  gipsies  they  tramp  the  land  back  and  forth. 

THIRD  GIRL 

Mine  kill’d  the  brat  that  was  born  of  our  sin. 

And  now  his  head ’s  stuck  on  a stake,  all  a-grin. 

THE  THREE 

Trolls  of  the  Valfield!  Hear  the  alarms,  dears! 
Troll-pack!  Will  you  slumber  to-night  in  our  arms, 
dears  ? 

peer  gynt  (stands,  with  a leap,  in  the  midst  of  them) 

I ’m  a troll  with  three  heads,  and  for  three  girls  a 
lover ! 

THE  GIRLS 

Are  you  such  a lad,  eh? 

PEER  GYNT 

You  yourselves  may  discover! 

PIRST  GIRL 

To  the  hut! 

SECOND  GIRL 

We  have  barrels  of  mead! 

PEER  GYNT 

They  shall  dry  for  us  ! 

THIRD  GIRL  , 

This  night  then  shall  no  cot  be  empty,  nor  cry  for  us  ! 
second  girl  ( kissing  him ) 

Like  white-heated  iron  he  glistens  and  sparkles. 
third  girl  ( doing  the  same) 

Like  a baby’s  eyes  where  the  tarn  deepest  darkles. 
peer  gynt  ( dancing  in  the  midst) 

Heavy  of  heart,  and  wanton  of  thought; 

A smile  in  the  eyes,  in  the  throat  a sob  caught ! 


54 


PEER  GYNT 


[act  II 


the  gires  ( making  long  noses  towards  the  mountain- 
tops,  screaming  and  singing ) 

Trond,  Bård  and  Kåre ! Here  are  our  charms,  dears  ! 
Troll-pack ! Who  ’ll  slumber  to-night  in  our  arms, 
dears  ? 

[ They  dance  away  over  the  heights,  with  Peer  Gynt 
in  the  midst. 


SCENE  FOUR 

Among  the  Ronde  mountains.  Sunset.  Shining  snow- 
peaks  all  round. 

peer  gynt  ( enters , dizzy  and  bewildered) 

Tower  over  tower  is  growing! 

See  the  gate  glitter  and  sway ! 

Stand!  Will  you  stand?  It’s  flowing 
Further  and  further  away! 

The  cock  on  the  wind-vane  lifts  his 
Wings  for  a heavenly  flight; 

Deeper  the  blue  in  the  rifts  is, 

Barr’d  are  the  hills  and  closed  tight.  — 

What ’s  there?  Trees  and  trunks  many-rooted 
That  spring  from  a rent  in  the  ground? 

They  are  warriors  heron-footed ! 

Now  they  fade,  not  a sign  of  them ’s  found. 

Like  rainbow  streamers,  a singing 
Shoots  through  my  soul  and  sight. 

What ’s  that  far-off  chiming  and  ringing 
That  weighs  on  my  forehead  so  tight? 

It  beats  on  my  brows  as  a bell,  as 
A red-hot  ring  of  lead. 

I cannot  think,  who  in  hell  has 
Fastened  it  round  my  head!  ( Sinks  down) 


SCENE  iv] 


PEER  GYNT 


55 


Over  the  Gendin-edge  flying. 

Stuff  and  curst  lies ! Up  the  height, 

The  dizziest,  with  the  bride  crying  — 

And  drunk  for  a day  and  a night; 

Hawks  and  falcons  have  chased  me, 

Threaten’d  by  trolls  and  their  spies ; 

Crazy  girls  have  embraced  me  — 

Stuff  and  accursed  lies ! (Gazes  long  upwards ) 

There  two  brown  eagles  are  flying. 

Southward  are  winging  the  geese. 

While  I am  stumbling  and  lying 

In  the  muck  and  the  mess  to  the  knees ! ( Springs  up ) 
I will  fly ! I will  wash  myself  white  in 
The  bath  of  the  swift-flying  wind ! 

I ’ll  fly  high ! I will  plunge  myself  bright  in 
The  font  of  the  souls  that  have  sinn’d! 

I will  soar  far  above  farm-lasses ; 

I will  ride  myself  clean  of  mind; 

I will  cross  the  salt  sea-passes 
Over  Engelland’s  prince  and  his  kind ; 

Yes,  girls,  you  may  well  be  staring; 

My  ride  is  for  none  of  you ; 

You  are  wasting  your  time  by  caring — ! 

Yet,  perhaps,  I will  stoop  down  too. 

The  two  brown  eagles?  Where  are  they? 

They ’ve  vanisht,  the  devil  knows  where ! — 

The  gable  peaks  there,  by  that  star!  They 
Are  soaring  up  everywhere ! 

Lo ! out  of  the  ruins  it  rises  ! 

Wide  see  the  gateway  stands ! 

I know  it ! What  greets  my  eyes  is 
Th’  ancestral  farm-house  grand ! 

The  old  fence  has  gone,  and  the  litter 


56 


PEER  GYNT 


[act  n 


Of  clouts  from  the  windows  has  gone. 

Each  casement  with  lights  is  a-glitter; 

To-night  there’s  a great  feast  on! 

Hark ! there  is  the  parson  halloing 
As  his  knife  on  his  tumbler  he  hits ; 

There ’s  the  captain  his  bottle  throwing 
And  smashing  the  mirror  to  bits.  — 

Peace,  mother!  Now,  no  complaining! 

Let  them  waste  and  squander  for  me! 

’T  is  the  rich  John  Gynt  entertaining; 

Hurrah  for  the  family! 

What  is  all  this  row  and  racket? 

Why  do  they  cry  and  call? 

Who  is  the  boy  in  the  jacket 
The  parson  bids  into  the  hall? 

Go  in,  Peer  Gynt,  to  the  judging 
It  rings  forth  in  song  and  shout ! 

Great  were  thy  sires ; spite  o’  grudging 
Fate,  bring  thy  greatness  about! 

( Leaps  forward,  rims  against  a rock;  falls  and  re- 
mains stretched  on  the  ground ) 

SCENE  FIVE 

A hillside,  with  great,  soughing  trees.  Stars  shine 
through  the  leaves;  birds  sing  in  the  tree-tops. 

A Green-Clad  Woman  is  crossing  the  hillside.  Peer 
Gynt  follows  making  all  kinds  of  lover-like  antics. 

green-clad  one  ( stops  and  turns  round ) 

Is  it  true? 

peer  gynt  ( drawing  his  finger  across  his  throat) 

As  true  as  my  name  is  Peer; 

As  true  as  that  you  have  a beautiful  bloom ! 


SCENE  v] 


PEER  GYNT 


57 


Will  you  have  me?  You  ’ll  see  how  I ’ll  love  you  and 
spare ; 

You  shan’t  turn  the  spindle  nor  work  at  the  loom. 
You  shall  eat  all  you  want,  till  you  ’re  ready  to  burst. 
I never  will  drag  you  about  by  the  hair 

GREEN-CLAD  ONE 

Nor  beat  me? 

PEER  GYNT 

Now  if  I do,  may  I be  curst ! 

We  king’s  sons,  we  never  beat  women,  you  see. 

GREEN-CEAD  ONE 

You  ’re  a king’s  son? 

PEER  GYNT 

Yes. 


GREEN-CLAD  ONE 

I ’m  the  Dovre-King’s  daughter. 

PEER  GYNT 

Are  you?  See  then,  how  you  ’re  fitted  for  me! 

GREEN-CLAD  ONE 

In  the  Ronde  our  palace  looms  large  by  the  water. 

PEER  GYNT 

My  mother’s  is  larger,  you  have  to  agree. 

GREEN-CLAD  ONE 

Know  you  my  father?  His  name  is  King  Brose. 

PEER  GYNT 

Know  you  my  mother?  Her  name  is  Queen  Åse. 

GREEN-CLAD  ONE 

When  my  father  is  angry,  the  mountains  are 
shatter’d. 

PEER  GYNT 

When  my  mother  scolds,  they  reel  and  are  scatter’d. 

GREEN-CLAD  ONE 

My  father  can  kick  to  the  loftiest  arches. 


58 


PEER  GYNT 


[act  II 


PEER  GYNT 

Through  the  torrent  my  mother  magnificent  marches. 

GREEN-CLAD  ONE 

Have  you  got  other  clothes  than  those  tatter’d  rags, 
Peer? 

PEER  GYNT 

Ho ! you  should  j ust  see  my  Sunday  raiment ! 

GREEN-CLAD  ONE 

Gold  and  silk  are  my  dresses  for  every  day  meant. 

PEER  GYNT 

It  looks  as  if  sticks  and  straw  were  your  wear. 

GREEN-CLAD  ONE 

Yes,  there  is  one  thing,  please,  don’t  forget;  don’t; 
And  that  is  the  Ronde-folks’  use  and  wont: 

A two-fold  form  has  our  every  belonging. 

And  when  you  come  to  my  father’s  hall 

It  may  happen  suspicions  will  on  you  be  thronging 

That  the  place  is  a dreary  moraine,  and  that ’s  all. 

PEER  GYNT 

Why,  of  us  precisely  the  same  tale  is  told ! 

Rubbish  and  trash  you  may  think  our  gold. 

And  each  pane  that  a glitt’ring  reflection  throws 
You  may  fancy  a bundle  of  clouts  and  hose. 

GREEN-CLAD  ONE 

Foul  it  seems  fair,  and  black  it  seems  white. 

PEER  GYNT 

Big  it  seems  small,  and  filthy  seems  bright ! 
GREEN-CLAD  ONE  ( falls  071  hlS  neck ) 

Ay,  Peer,  now  I see,  how  amazingly  we  fit ! 

PEER  GYNT 

As  the  comb  fits  the  hair,  as  the  breeches  the  knee  fit. 
green-clad  one  ( calls  away  over  the  hillside ) 

Bridal-steed ! Bridal-steed ! Come,  my  steed,  come  ! 


SCENE  Vi] 


PEER  GYNT 


59 


[A  gigantic  pig  comes  running  in  with  a rope's  end 
for  bridle  and  an  old  sack  for  saddle.  Peer  Gynt 
vaults  on  its  hack  and  puts  the  Green-Clad  One  in 
front  of  him. 

PEER  GYNT 

Halloo  ! then,  magnificent  gallop  we  home ! 

Gee-up  ! Gee-up  ! my  courser  fine ! 
green-clad  one  ( tenderly ) 

Ah ! of  late ’t  was  my  wont  to  be  pensive  and  pine  — 
Folk  never  can  tell  what  the  fates  will  throw  them! 
peer  gynt  ( thrashing  the  pig  and  trotting  off) 

The  great ! By  their  riding-gear  men  know  them ! 

SCENE  SIX 

The  Royal  Hall  of  the  Old  Man  of  the  Dovre.  There 
are  many  Troll  Courtiers,  Gnomes  and  Brownies.  The 
Old  Man  of  the  Dovre  is  enthroned  with  his  sceptre  in 
his  hand.  His  children  and  nearest  relatives  are  be- 
side him.  Peer  Gynt  stands  before  him.  A violent  up- 
roar in  the  hall. 

TROLL  COURTIERS 

Beat  him ! The  Christian  has  infatuated 
The  Dovre-King’s  loveliest  daughter ! 

A TROLL  IMP 

May  I hack  him  on  the  fingers? 

ANOTHER 

May  I pluck  hair  from  his  hated 

Head? 

A TROLL  GIRL 

May  his  thighs  by  me  be  bitten  and  grated? 
a troll  witch  {with  a ladle) 

May  I flay  him  and  pop  him  in  boiling  water? 


60 


PEER  GYNT 


[act  II 


another  {with  a chopper ) 

Shall  he  roast  on  the  spit?  In  the  pot  get  a 
browning? 

OLD  MAN  OF  THE  DOVRE 

Cool  your  blood!  {Beckons  his  councillors  close ) 

An  end  to  bragging  and  frowning ! 
We ’ve  been  going  backwards  in  this  latter'  day, 

Nor  know  what  will  stand  and  what ’s  falling  away. 
When  we  get  a recruit,  there ’s  no  sense  in  downing 
And  shoving  him  off ; besides  our  whole  town  in 
There ’s  no  stronger  chap  if  you  take  me  as  guide. 
It  is  true  he  has  only  a single  head, 

But  my  daughter  herself  has  no  more,  beside 
Three-headed  trolls  are  of  a fashion  dead; 

One  rarely  meets  two-headers  now,  my  sons, 

And  those  even  are  but  indifferent  ones. 

{To  Peer  Gynt ) 

It ’s  my  daughter  you  want  me,  then,  to  be  giving? 

PEER  GYNT 

Your  daughter  and  realm  for  dowry;  yes. 

OLD  MAN  OF  DOVRÉ 

The  half  is  yours,  as  long  as  I ’m  living, 

And  the  other  half,  when  I depart  life’s  stress. 

PEER  GYNT 

I ’m  content  with  that. 

OLD  MAN 

Too  quickly  spoken. 

You  ’ ve  a few  promises,  now,  to  give. 

Break  but  one  of  them,  our  pact ’s  broken. 

And  you  ’ll  never  get  out  of  here  alive. 

First  of  all  you  must  swear  that  you  ’ll  pay  no 
heed  to 

What ’s  beyond  the  Ronde,  the  roads  that  lead  to 


SCENE  VI ] 


PEER  GYNT 


61 


The  world  without:  Day,  Deeds,  Light  you  must 
shun. 

PEER  GYNT 

Only  call  me  King,  and  that ’s  easily  done. 

OLD  MAN 

And  next  — well,  your  wits  to  the  test  I ’ll  put. 

( Draws  himself  up  in  his  seat ) 
oldest  toll  courtier  ( to  Peer  Gynt') 

Let ’s  see  if  you ’ve  got  a wisdom  tooth 
That  can  crack  the  Dovre-King’s  riddle-nut. 

OLD  MAN 

How  do  men  differ  from  trolls? 

PEER  GYNT 

In  truth 

They  don’t  differ  at  all,  as  it  seems  to  me. 

Big  trolls  would  roast  you,  and  small  trolls  would 
scratch  you, 

’T  were  like  that  with  us,  if  men  dared  and  could 
catch  you. 

OLD  MAN 

True  enough.  In  that  and  in  more  we  agree. 

Yet  even  is  even  and  morning  is  morning, 

There  is  a difference,  set  for  a warning, 

What  the  difference  is  ’twixt  our  and  your  ways,  I 
Will  tell  you.  Out  there  ’neath  the  glittering  span 
O’  the  sky,  goes  the  saying,  “ Be  thyself,  man ! ” 
While  here,  among  us,  among  all  the  troll-herd, 

“ Troll  to  thyself  be  — enough ! ” is  the  word. 
oldest  troll  courtier  ( t o Peer  Gynt) 

Do  you  fathom  the  depth? 

PEER  GYNT 

It  strikes  me  as  hazy. 


62 


PEER  GYNT 


[act  II 


OLD  MAN 

Let  “ Enough,”  the  sundering  word,  be  written 
In  your  mind,  and  on  your  escutcheon  smitten. 
peer  gynt  ( scratching  himself  behind  the  ears) 
Well,  but 


OLD  MAN 


It  must,  if  here  you  would  lord  it ! 


PEER  GYNT 

All  right ; let  it  go : I think  I can  afford  it 


OLD  MAN 

Then  next  you  must  learn  true  value  to  give 
To  the  homely  and  every-day  way  we  live. 

(He  beckons;  two  Trolls  with  pig  s' -heads,  white 
night-caps  and  so  forth,  bring  in  food  and  drink) 
The  cow  gives  cakes  and  the  bullock  mead; 

Whether  sweet  or  sour  you  must  not  heed; 

The  great  point  is,  which  must  not  be  forgot, 

It ’s  home-brew’d,  here,  on  the  spot. 
peer  gynt  (pushing  the  things  away) 

May  your  home-brew’d  drink  help  hell  to  blaze! 

I shall  never  get  used  to  this  country’s  ways. 

OLD  MAN 

You  get  the  bowl  too,  made  of  gold  that  won’t  perish, 
Who  has  the  gold  bowl,  him  my  daughter  will  cherish. 
peer  gynt  (meditating) 

It  is  written : Coerce  the  natural  creature ; 

And,  perhaps,  in  time  the  drink  will  seem  sweeter. 
Let  it  go  ! (Complies) 

OLD  MAN 

That’s  a wise  word!  You  spit? 

PEER  GYNT 

I must  trust  to  the  force  of  habit  for  it. 


SCENE  Vi] 


PEER  GYNT 


63 


OLD  MAN 

And  next  you  throw  off  your  Christian  dress, 

Eor  in  this  is  the  pride  of  the  Dovre,  confess: 

Here  all  things  are  mountain-made,  nought ’s  from 
the  dale 

Except  the  silk  bow  at  the  end  of  your  tail. 

Ipeer  gynt  ( indignant ) 

I ’ve  no  tail ! 

OLD  MAN 

You  must  get  one,  of  course,  like  the  rest. 
Lord  Chamberlain,  tie  on  him  my  Sunday-best. 

PEER  GYNT 

No:  I’m  damned.  I will  not  look  a fool,  do  you 
hear  ? 

OLD  MAN 

None  woos  my  child  save  with  a tail  at  his  rear. 

PEER  GYNT 

Turn  a man  to  a beast ! 

OLD  MAN 

Nay,  my  son,  you  mistake; 
Of  you  only  a mannerly  wooer  I ’d  make. 

Now  here ’s  a fine  tail,  with  an  orange  bow  on 
her. 

And  to  let  you  wear  that  is  a very  great  honor. 
peer  gynt  ( reflectively ) 

They  say,  Man  is  a mote  and  Life  is  a bubble. 

And  to  follow  the  use  and  wont  saves  trouble. 

Tie  away! 

OLD  MAN 

You  ’re  a pliable  fellow,  at  least. 

TROLL  COURTIER 

Just  try  with  what  grace  you  can  swing  it  and 
wag  it ! 


64 


PEER  GYNT 


[act  II 


peek  gynt  ( angrily ) 

Ha!  would  you  have  me  yet  further  drag  it? 

Must  I give  up  Christianity? 

OLD  MAN 

No;  in  quietness  you  may  a Christian  be. 

On  faith  there ’s  no  duty,  but  free  it  comes  in : 

You  must  tell  a troll  by  his  looks  and  his  skin. 
There ’s  our  manners  and  dress,  only  put  on  them, 
You  may  hold  as  your  faith  what  we  curse  and 
condemn. 

PEER  GYNT 

Spite  of  your  terms,  you  are  reasonabler 
Than  I fear’d  you  would  be  when  we  first  got  ac- 
quainted. 

OLD  MAN 

My  son,  we  trolls  are  n’t  so  black  as  we  ’re  painted. 
Here  again  do  we  differ  from  mankind.  — There, 
We  need  not  discuss  grave  affairs  any  more ; 

Now  joy  for  the  eyes  and  the  ears  we  will  bring  out. 
Music-maid,  forth ! Let  the  Dovre  harp  ring  out ! 
Dancing-maid,  forth ! Tread  the  Dovre-hall’s  floor  ! 
[Music  and  dance. 

TROLL  COURTIER 

How  like  you  it? 

PEER  GYNT 

Like  it,  h’m! 

OLD  MAN 

Speak  without  fear. 

What  see  you? 

PEER  GYNT 

’T  is  monstrously  grim  and  queer. 
A bell-cow  with  her  hoof  on  gut-strings  a-playing. 
A sow  in  socks  tripping  in  tune  and  swaying. 


SCENE  Vi] 


PEER  GYNT 


65 


COURTIERS 

Eat  him! 

OLD  MAN 

Bear  in  mind  he  has  but  human  senses ! 

TROLL  MAIDENS 

Let  me  tear  off  an  ear,  let  me  pluck  out  an  eye ! 
green-clad  one  ( weeping ) 

Hu-hu ! And  we  must  bear  this,  my  sisters  and  I, 
Our  singing  and  dancing  a loathsome  offence  is ! 

PEER  GYNT 

Oho!  was  it  you?  Well,  a jest  at  the  revel, 

You  know,  is  never  unkindly  meant. 

GREEN-CLAD  ONE 

Can  you  swear ’t  was  a joke? 

PEER  GYNT 

May  I go  to  the  devil 

If  the  dance  and  the  music  were  n’t  harmony  blent. 

OLD  MAN 

Well  now,  human  nature ’s  a curious  thing; 

It  sticks  so  long  and  it  sticks  so  tightly. 

If,  in  conflict  with  us,  it  is  wounded  slightly 
Or  badly,  it  heals,  though  the  scar  may  sting. 

My  son-in-law ’s  pliable,  free  from  malice. 

Willingly  his  Christian  trousers  he  dropt, 

Willingly  he  drank  the  mead  from  our  chalice, 
Willingly  was  persuaded  a tail  to  adopt  — 

So  willing,  in  short,  in  all  things  we  found  him 
That  I myself  thought,  the  old  Adam  that  bound  him 
Had  been  kickt  out  of  doors  with  a final  dismissal  — 
When  hey ! he  is  back  again,  ere  one  can  whistle. 
Yes,  yes,  my  good  son-in-law,  it  is  sure 
For  your  human  nature  we  must  find  a cure. 


66 


PEER  GYNT 


[act  II 


PEER  GYNT 

What  will  you  do? 

OLD  MAN 

In  your  left  eye  I ’ll  make 
A slight  scratch  until  you  have  crooked  sight ; 

But  all  that  you  can  see  will  seem  brave  and  bright. 
And  then  your  right  window-pane  I must  break. 

PEER  GYNT 

Are  you  drunk? 

old  man  ( lays  many  sharp  instruments  on  the  table) 
Here ’s  many  a useful  tool. 

Blinkers  you  will  wear  as  a raging  bull. 

Then  you  ’ll  know  that  your  bride  is  beautiful  — 
And  your  vision  will  not  be  plagued,  as  just  now, 
By  an  old  bell-cow  and  a dancing  sow 

PEER  GYNT 

This  is  madman’s  talk! 

OLDEST  TROLL  COURTIER 

’T  is  the  King  who  advises. 
’T  is  you  who  are  mad  and  he  who  wise  is ! 

OLD  MAN 

Just  think  how  in  the  long  future  years 

You  ’ll  be  saved  the  annoyance  and  trouble  of  tears ! 

For  remember ’t  is  from  the  fount  of  vision 

The  bitter  and  marring  waters  spout. 

PEER  GYNT 

True  enough:  and  the  sermon  book  says  with  pre- 
cision 

If  thine  eye  offend  thee  pluck  it  out. 

But  when  shall  I get  back  the  sight  of  men, 

Heal’d  and  recover’d? 

OLD  MAN 

Son,  never  again. 


SCENE  Vi] 


PEER  GYNT 


67 


PEEE  GYNT 

Indeed ! Then  the  bargain  is  off ! Good-bye  ! 

OLD  MAN 

What  would  you  without? 

PEER  GYNT 

Go  on  my  way,  I. 

OLD  MAN 

No,  stop ! To  slip  in  is  no  difficult  thing ! 

But  outwards  the  Dovre-gates  will  not  swing. 

PEER  GYNT 

Surely  you  would  not  detain  me  by  force? 

OLD  MAN 

Be  sensible  now,  and  listen  Prince  Peer ! 

You  have  talents  for  trolldom.  You  give  quite  a fair 
Copy  of  a proper  and  troll-like  course. 

And  you ’d  fain  be  a troll? 

PEER  GYNT 

I would;  when  I get 
A bride,  and  a well-managed  realm  in  addition  — 

I can  lose  a good  deal  for  such  a position. 

But  to  all  things  on  earth  is  due  limit  set. 

I accept  the  tail,  it  can’t  be  denied ; 

But  I can  undo  what  the  Chamberlain  tied; 

My  breeches  I ’ve  dropt ; they  were  old,  full  of 
patches, 

I can  don  them  again  and  fasten  the  latches. 

And  easily  too  I should  be  able 

From  your  Dovrefied  life  to  slip  the  cable. 

That  a cow  is  a maid,  I am  willing  to  swear; 

An  oath  one  can  always  eat  and  be  free  again  — 
But ’t  is  that,  just  to  know  one  can  never  be  again 
Oneself,  nor  can  die  like  a man,  but  must  wear 
The  garb  of  a hill-troll  for  ever  and  ever  — 


68 


PEER  GYNT 


[act  II 


And,  withal  to  feel  one  can  turn  back,  never, 

As ’t  is  writ : that ’s  what  you  are  hoping  for  me  too, 
And  that  is  a thing  I can  never  agree  to. 

OLD  MAN 

Very  soon  in  truth,  by  my  royal  life,  I ’ll 
Get  angry ; and  that,  you  ’ll  find  is  no  trifle. 

You  treacherous  hound!  Do  you  argue  with  me? 
First  with  my  daughter  you  make  too  free  — 

PEER  GYNT 

There  you  lie  in  your  teeth! 

OLD  MAN 

And  now  marry  you  must. 

PEER  GYNT 

Dare  you  accuse  me  — ? 

OLD  MAN 

What?  Did  n’t  you  lust 
In  your  heart,  and  desire  her  your  leman  to  be? 

PEER  GYNT  ( Wltll  a SUOrt ) 

Desire?  Who  the  devil  cares  twopence  for  it? 

OLD  MAN 

You  humankind  have  not  alter’d  a bit. 

You  ’re  ready  to  prate  of  the  spirit  and  kneel  for  it ; 
But  nought  counts,  if  you  can’t  with  your  hands 
touch  and  feel  for  it. 

So  you  think,  do  you,  lust  matters  nothing?  You’ll 
see ; 

Just  wait;  oh,  you  soon  shall  see  with  your  eyes  — 

PEER  GYNT 

You  don’t  catch  me  with  a bait  of  lies! 

GREEN-CLAD  ONE 

Ere  the  3rear ’s  out,  my  Peer,  you  a father  will  be. 

PEER  GYNT 

Open  doors ! I will  go. 


SCENE  Vi] 


PEER  GYNT 


69 


OLD  MAN 

In  a buck-skin,  Prince  Peer, 
You  shall  have  the  imp  after  you. 
peek,  gynt  ( wiping  off  the  sweat ) 

Would  I might  waken ! 

OLD  MAN 

At  the  palace  you ’d  like  him? 

PEER  GYNT 

Bah ! let  him  be  taken 

To  the  workhouse ! 

OLD  MAN 

Well,  Prince,  that ’s  your  own  affair. 
But  one  thing  is  certain,  what ’s  done  is  done ; 

He  ’ll  shoot  up,  too,  in  a rapid  fashion, 

These  mongrels  grow  almost  before  they ’ve  begun  — 

PEER  GYNT 

Old  man,  don’t  act  like  an  ox  in  a passion; 

Hear  reason,  girl!  Come  to  a compromise. 

I ’m  not  rich  nor  a prince.  Now  you  know,  be 
wise: 

For  whether  you  take  or  the  measure  or  weight  of 
me, 

You  ’ll  gain  nothing  by  keeping  and  making  a mate 
of  me. 

[The  Green-Clad  One  is  taken  ill,  and  is  carried  hy 
the  Troll  Maids. 

old  man  ( looks  at  him  for  a while  in  supreme  disdain ; 
then  says) 

On  the  rock-walls,  children,  dash  him  flat. 

TROLL  IMPS 

First  let ’s  play  eagle  and  owl ! Or  we  might 
Have  the  wolf-game,  or  grey-mouse  and  glow-eyed 
cat ! 


70 


PEER  GYNT 


[act  n 


OLD  MAN 

Yes,  but  quick.  I ’m  annoyed  and  sleepy.  Good 
night ! 

(Goes) 

peer  gynt  (hunted  by  the  Troll  Imps) 

Let  me  be,  devil’s  imps!  (Tries  to  bolt  up  the 
chimney) 

TROLL  IMPS 

Come  nixies ! Come  brownies  ! 

Bite  him  behind! 

PEER  GYNT 

Au ! 

(Tries  to  go  down  thro ’ the  cellar  trap-door) 

TROLL  IMP 

There  a way  down  is ! 

Stop  all  holes ! 

TROLL  COURTIER 

They  ’re  enjoying  themselves! 
peer  gynt  (struggling  with  a little  imp,  that  has  bit 
itself  fast  in  his  ear) 

Beast,  let  go. 

TROLL  COURTIER 

Gently,  you  scamp,  with  a king’s  son ! So. 

(Hits  him  over  the  fingers) 

PEER  GYNT 

A rat  hole!  (Runs  to  it) 

TROLL  IMP 

Brother,  run  to  it  quickly  and  bar ! 

PEER  GYNT 

The  old  one  was  bad,  but  the  young  are  worse  far ! 

TROLL  IMP 

Slash  him! 


SCENE  Vil] 


PEER  GYNT 


71 


PEEE  GYNT 

Ah!  would  I were  small  as  a mouse!  ( Rushes 
around) 

troll  imps  ( swarming  round) 

Shut  him  in  ! Brothers  ! 
peer  gynt  ( weeping ) 

Would  I were  a louse.  ( He 

falls) 

TROLE  IMPS 

Now  into  his  eyes! 

peer  gynt  ( buried  in  a heap  of  imps) 

Help,  mother,  I die ! 

[Church  hells  sound  afar  off. 

TROLL  IMP 

Bells  in  the  hills ! The  cows  of  the  Black  Frock  are 
nigh ! 

[The  Trolls  flee,  with  an  uproar  of  yelling  and  shriek- 
ing. The  hall  collapses;  all  disappears. 

SCENE  SEVEN 

Pitch  darkness. 

Peer  Gynt  is  heard  heating  and  slashing  about  him 
with  a large  hough. 

PEER  GYNT 

Answer!  Who  are  you? 

VOICE  IN  THE  DARKNESS 

Myself. 

PEER  GYNT 

Clear  out! 

VOICE 

The  hill ’s  big  enough,  Peer ; go  roundabout ! 


72  PEER  GYNT  [act  ii 

peer  gynt  ( tries  to  get  through  another  place,  hut 
strikes  against  something) 

Who  are  you? 

VOICE 

Myself.  Can  you  say  the  same? 

PEER  GYNT 

I say  what  I will ; my  sword  flashes  like  flame ! 

Have  at  you  ! There ! There  the  blow  has  bitten  ! 
Hundreds  King  Saul,  thousands  Peer  Gynt  has 
smitten ! 

(Beating  and  slashing) 

Who  are  you? 

VOICE 

Myself. 

PEER  GYNT 

That ’s  an  answer  which 
You  may  keep,  for  it  leaves  things  as  black  as  pitch. 
What  are  you? 

VOICE 

The  great  Boyg. 

PEER  GYNT 

The  great  Boyg,  you  say; 
The  riddle  was  black,  now  I think  it  is  grey. 

Clear  out,  then,  Boyg! 

VOICE 

Go  roundabout,  Peer ! 

PEER  GYNT 

Right  through!  ( Beats  and  slashes) 

He  is  down ! 

( Tries  to  go  on,  hut  strikes  against  something) 

Hallo  ! there ’s  more  there ! 

VOICE 

The  Boyg,  Peer  Gynt ! The  one  only  one, 


SCENE  Vil] 


PEER  GYNT 


73 


’T  is  the  Boyg  that ’s  untired,  and  the  Boyg  that  is 
done. 

’T  is  the  Boyg  that  is  dead,  and  the  Boyg  that ’s 
alive  still. 

peer  gynt  ( throws  away  the  bough ) 

My  sword  is  bewitcht ; with  my  fists  I ’ll  arrive  still. 
{Struggles  to  get  through ) 

VOICE 

Yes:  rely  on  your  fists,  on  your  body  rely. 

He-he,  Peer  Gynt,  so  you  will  clamber  on  high. 
peer  gynt  ( falls  back  again) 

Backwards  and  forwards,  ’t  is  just  as  long; 

In  and  out,  and  it ’s  strait  as  strong ! 

He  is  there.  And  there.  And  he ’s  round  the  bend. 

I am  out,  and  then  back  in  this  ring  without  end. 
Name  yourself!  Let  me  see  you!  What  are  you? 
Speak ! 

VOICE 

The  Boyg. 

peer  gynt  {groping  around) 

Not  dead,  not  living;  slimy  and  sleek; 
Misty.  Not  even  a form ! It ’s  as  bad  as  keeping 
Up  a fight  among  bears,  a-snarl  and  half  sleeping! 

( Screams  ) 

Strike  back  at  me ! 

VOICE 

The  Boyg ’s  not  mad,  Peer. 

PEER  GYNT 

Strike ! 

VOICE 

The  Boyg  strikes  not. 


PEER  GYNT 


You  shall  struggle,  I swear! 


74> 


PEER  GYNT 


[act  II 


VOICE 

The  great  Boyg  wins  without  struggle  or  stress. 

PEER  GYNT 

Were  there  only  a nixie  here,  that  could  prick  me! 
Were  a troll  here,  aged  only  a year  and  a night ! 
Only  something  to  fight  with.  Nought ’s  here  ev’n  to 
kick  me. 

He’s  snoring!  Boyg! 

VOICE 

Yes? 

PEER  GYNT 

Use  force,  and  fight ! 

VOICE 

The  great  Boyg  wins  all  by  gentleness. 
peer  gynt  ( biting  his  own  arms  and  hands) 

In  my  flesh  plunge  ravening  teeth  and  claws ! 

I must  feel  my  own  warm  blood  a-dripping. 

[A  sound  is  heard  like!  the  heating  of  the  wings  of 
huge  birds. 

BIRD  CRIES 

Is  he  coming,  Boyg? 

VOICE 

Ay,  slowly  slipping. 

BIRD  CRIES 

All  our  sisters  far  off ! To  the  tryst ! Do  not  pause ! 

PEER  GYNT 

If  you ’d  save  me  now,  lass,  be  quick  for  I die ! 

Gaze  not  down  before  you,  bending  so  low. 

Your  pra}fer-book ! Straight  at  his  eyes!  There! 
Throw ! 

BIRD  CRIES 

He  totters ! 


SCENE  Vill] 


PEER  GYNT 


75 


VOICE 

We  have  him ! 

BIRD  CRIES 

Sisters,  swiftly  fly ! 

PEER  GYNT 

Too  dear  the  price  that  one  pays  for  life 

In  such  an  agonized  hour  of  strife.  ( Sinks  down ) 

BIRD  CRIES 

Boyg ! There  he ’s  dropt ! Quick ! Seize  him  ! Bind 
him ! 

[ The  ringing  of  bells  and  psalm-singing  are  heard 
afar  off. 

the  boyg  ( shrinks  up  to  nothing  and  says  in  a gasp ) 
He  was  too  strong.  There  were  women  behind  him. 

SCENE  EIGHT 

Sunrise.  The  mountain-side  in  front  of  Ase’s  saeter. 
The  door  is  shut;  all  is  deserted  and  silent. 

Peer  Gynt  is  lying  asleep  by  the  wall  of  the  saeter. 

peer  gynt  {wakes  and  looks  about  him  with  dull  and 
heavy  eyes ; he  spits ) 

Oh ! I wish  I’d  a pickled  herring  to  chew ! 

( Spits  again,  and  at  the  same  moment  sees  Helga, 
who  appears  with  a basket  of  food ) 

Ha!  child,  are  you  there?  What  is  it  you ’d  do? 

HELGA 

It  is  Solveig 

PEER  GYNT  ( jumps  Up ) 

Where  is  she? 

HELGA 

Behind  there,  alone. 


76 


PEER  GYNT 


[act  II 


solveig  ( unseen ) 

Come  no  nearer,  or  else  away  I will  race. 

PEER  GYNT  ( stops  still ) 

You  ’re  afraid,  I suppose,  I shall  try  to  embrace ? 

SOLVEIG 

For  shame ! 

PEER  GYNT 

Do  you  know  where  I was  in  the  night? 
The  Dovre-King’s  daughter  wants  me  for  her 
own. 

SOLVEIG 

Then  it  was  well  that  we  set  the  bells  ringing. 

PEER  GYNT 

Oh ! Peer  Gynt ’s  not  the  lad  to  be  lured  by  troll- 
singing. 

What  do  you  say? 
helga  ( weeping ) 

Oh ! she ’s  taken  to  flight ! 

( Runs  after  her) 

Wait ! 

peer  gynt  ( catches  her  by  the  arm) 

In  my  pocket  I ’ve  got  something  good  for  you ! 

A silver-stud,  child ! You  may  have  it ; see ! 

Only  speak  for  me ! 

HELGA 

Let  go ! Let  me  be ! 

PEER  GYNT 

Take  it! 

HELGA 

Let  go  ! There ’s  the  basket  of  food  for  3Tou ! 

PEER  GYNT 

God  pity  you  if  you  don’t 


SCENE  vra] 


PEER  GYNT 


77 


HELGA 

Uf,  how  you  scare  me! 
peer  Gynt  ( gently ; letting  her  go ) 

Nay;  beseech  her  in  remembrance  to  bear  me! 

[ Helga  runs  off. 


END  OF  SECOND  ACT 


THE  THIRD  ACT 

SCENE  ONE 


Deep  in  the  pine-woods.  Grey  autumnal  weather. 
Snow  is  falling. 

Peer  Gynt  stcCnds  in  his  shirt-sleeves  and  fells  timber. 

peer  gynt  (hewing  at  a large  fir  with  crooked 
branches ) 

Ah ! my  ancient  churl,  you  are  stout  and  tall ; 

But ’t  is  little  use,  for  you  ’re  doom’d  to  fall.  ( Hews 
again  ) 

I see  well  enough  you ’ve  a shirt  of  steel ; 

Yet  right  through  its  strength  my  blows  you  shall 
feel.  — 

Now  you  ’re  shaking  your  crooked  arms  on  high ; 
You ’ve  reason  into  a rage  to  fly ; 

But  all  the  same  you  must  bow  the  knee ! 

( Breaks  off  abruptly) 

Lies ! It  is  nought  but  an  old,  gnarl’d  tree. 

Lies  ! It  is  not  a steel-clad  churl ; 

It  ’s  a fir,  with  split  bark,  whose  branches  curl.  — 

It  is  heavy  work,  this  hewing  of  timber; 

But  to  dream,  while  you  hew,  does  n’t  make  you  more 
limber.  — 

It ’s  all  over  — I ’m  done  with  living  in  hazy 
Lies,  and  in  daylight  dreaming  me  crazy. 

You  ’re  an  outlaw,  lad!  In  the  woods  are  your  ways. 
Ay’ 

( Hews  for  a while  quickly ) 


SCENE  i] 


PEER  GYNT 


79 


An  outlaw ; aj.  You  ’ve  no  mother  now,  able 
To  bring  you  your  food,  and  to  spread  you  the  table. 
If  you ’d  eat,  my  lad,  you  yourself  must  bring 
Your  rations  raw  from  the  wood  and  the  spring, 
Split  your  own  fir-roots  and  build  your  own  fire, 
Arrange  and  prepare  what  you  need  and  desire. 

If  you  want  warm  clothes,  you  must  stalk  the  deer ; 
If  a house,  you  must  quarry  and  bring  your  stones 
here ; 

Would  you  timber  the  house,  you  must  fell  no  lack 
Of  logs,  and  bring  them  along  on  your  back.  — 

( His  axe  sinks  down;  he  looks  straight  in  front  of 
him ) 

Brave  shall  the  building  be  ! See ! rise  there 
Tower  and  vane,  from  the  roof-tree,  high  and  fair! 
And  I will  carve,  for  a knob  on  the  gable, 

A mermaid,  shaped  like  a fish  from  the  navel. 

The  brass  on  the  vane  and  the  locks  shall  shimmer. 
And  the  windows  shall  all  be  properly  glazed. 
Strangers  that  pass,  shall  ask,  amazed 
“ What  is  that,  far  off  on  the  hill  a-glimmer?  ” 

( Laughs  angrily') 

Devil’s  own  lies ! There  they  flock  again  quick. 

You  ’re  an  outlaw,  lad!  ( Hews  vigorously) 

A hovel,  no  more, 

Bark-thatcht,  will  keep  rain  and  frost  from  the  door. 
{Looks  up  at  the  tree) 

Now  he  is  toppling.  There;  only  a kick! 

And  he ’s  dropt,  and  measures  his  length  on  the 
ground  — 

And  the  undergrowth  swarms  and  shudders  around ! 
{Begins  to  lop  twigs  from  the  trunk ; suddenly  listens 
and  stands  still  with  his  axe  raised) 


80  PEER  GYNT  [act  m 

— — 

There  is  some  one  there  after  me ! What ! Is  it  you 

for  me, 

Old  Hegstad  churl?  Would  you  try  and  do  for  me? 
( Crouches  behind  the  tree,  and  peers  over  it) 

A lad.  Only  one.  He  seems  terrified. 

He  peers  all  round  him.  What ’s  that  he  would  hide 
’Neath  his  jacket?  A sickle.  He  looks  around; 
stops ; 

Then  flat  on  the  fence-rail  his  hand  is  put. 

What ’s  he  going  to  do  now?  Why,  see  how  he 
props  — 

Ugh ! He ’s  chopt  off  his  finger ! What  a cut ! 

A whole  finger  off ! Like  an  ox  he  is  bleeding.  — 
With  his  hand  swathed  in  rags  fast  away  he  is 
speeding.  (Rises) 

What  a devil ! A finger  off ! Quite  irreplaceable ! 
Right  off ! And  none  made  him  do  such  an  unfaceable 
Act.  — I remember,  of  course ; ’t  is  but  this  that  ’ll 
Free  you  from  serving  the  King  in  battle. 

That ’s  it.  They  wished  him  to  war  to  be  turning ; 
And  the  lad  did  n’t  want  to  go ; mayhap,  to  fall  — 
But  to  chop  — ? To  cut  off  for  good  and  all  — 
Yes,  think  of  it ; wish  it  done ; will  it,  withal  — 

But  to  do  it!  No;  that’s  beyond  my  discerning! 
(Shakes  his  head  a moment;  then  goes  on  zcdth  his 
work  again) 


SCENE  TWO 

A room  in  Ase’s  house.  Everything  in  disorder; 
boxes  stand  open;  clothes  and  dresses  strewn  all  around; 
a cat  is  on  the  bed. 


SCENE  II] 


PEER  GYNT 


81 


Åse  and  the  Cotter's  Wife  are  hard  at  work  packing 
things  together  and  setting  them  straight. 

Åse  ( running  to  one  side ) 

Kari,  come  here ! 

KARI 

What  now? 

Åse  (on  the  other  side ) 

Come  here ! Where  is  — ? 
Where  shall  I find  it  — ? Where  — tell  me  — there 
is  — 

What  am  I looking  for?  I ’m  out  of  my  wits! 
Where ’s  the  key  of  the  chest  ? 

KARI 

In  the  key  hole. 

Åse 

O ! it  ’s  — 

What ’s  that  rumbling  I hear  ? 

KARI 

The  last  cart-load 

That  they  ’re  driving  along  on  the  Hegstad  road. 

Åse  ( weeping ) 

Would  I in  the  black  chest  were  driving  away! 

Ah ! What  troubles  a mortal  must  bear  in  his  day ! 
God  have  mercy ! God  help  me  ! The  house  is  stript 
bare ! 

What  the  Hegstad  churl  left,  the  Bailiff  collected. 
Not  even  the  clothes  from  my  back  were  rejected. 

It  ’s  a shame  ! Their  decree  was  brutal,  unfair ! 

(Sits  herself  on  the  edge  of  the  bed ) 

The  farm  and  the  ground  are  lost  to  our  line  — 
The  old  man  was  stern,  but  worse  the  law  dealt  with 
me ; 


82  PEER  GYNT  [act  in 

No  mercy  was  shown,  no  sympathy  felt  with  me  — 
Peer  was  away,  and  no  counsel  was  mine. 

KARI 

You  can  live  in  this  house,  though,  until  you  die. 

ÅSE 

Yes,  can  live  upon  charity,  the  cat  and  I ! 

KARI 

God  pity  you,  dame;  your  Peer  cost  you  dear. 

ÅSE 

Peer?  You  are  out  of  your  senses,  I fear! 

Ingrid  came  back  no  worse  for  the  revel. 

’T  was  the  foul  fiend  ’t  were  right  to  put  one’s  curse 
on ; 

For  he,  and  none  else,  was  the  guilty  person; 

Yes;  my  poor  boy  was  tempted  astray  by  the  devil. 

KARI 

Now,  won’t  it  be  best  if  I send  for  the  Vicar? 
Perhaps  }rou  are  really  worse  than  you  know. 

ÅSE 

For  the  Vicar?  Perhaps.  I am  feeling  sicker. 

( Starts  up) 

But,  my  God,  no,  I can’t.  I ’m  the  lad’s  mother,  oh ! 
I must  help  him ; see  what  I can  lay  my  hand  on ; 
’T  is  mere  duty  to  help  him,  when  all  men  abandon. 
There ’s  his  coat  they  have  left  him.  I ’ll  try  and 
patch  it. 

There ’s  the  fur-rug,  I wish  I ’d  the  courage  to 
snatch  it. 

Where  are  his  hose? 

KARI 

Mixt  up  with  those  rags.  There ! 

Åse  ( rummaging ) 

What  have  we  here?  Kari,  look!  I declare 


SCENE  II] 


PEER  GYNT 


83 


’T  is  the  old  casting  ladle.  With  this  he  would  play 
Button-molder,  melt  buttons  and  shape  and  impress. 
He  came  in,  when  there  were  guests,  one  day, 

And  asked  his  father  for  tin.  “ Oh  yes ! 

But  not  tin,”  said  John.  “ King’s  coins  from  the 
Mint ; 

Silver ; to  show  you  ’re  the  son  of  J ohn  Gynt.” 

God  pardon  him,  he  had  drunk  all  he  could  hold. 
And  then  he  cared  neither  for  tin  nor  gold. 

Here ’s  the  hose ! They  ’re  nothing  but  holes,  they  ’re 
so  old. 

They  want  darning,  Kari ! 

KARI 


That  they  do,  sadly. 

ÅSE 

When  that ’s  done,  I ’ll  to  bed.  I ’m  feeling  badly. 

I feel  frail  and  poorly  and  broken  — I — ( Joyfully ) 
Two  woollen  shirts,  Kari  — they ’ve  passed  them  by. 

KARI 

So  they  have. 

ÅSE 


Well,  sometimes  luck  comes  nigh. 
You  can  put  aside  one  of  them,  Kari.  There. 

Or  rather,  I think  we  ’ll  keep  both.  I could  swear 
The  one  he  has  on  is  worn-out  and  thin. 

KARI 

Oh,  heavens ! Mother  Åse,  I fear  ’t  is  a sin. 

ÅSE 

Well,  well;  but  the  Vicar  has  preacht  to  us  whence  is 
Forgiveness  for  this  and  our  other  offences. 


84 


PEER  GYNT 


[act  III 


SCENE  THREE 

In  front  of  a newly  built  hut  in  the  wood.  Reindeer's 
horns  are  over  the  door.  The  snow  lies  deep.  It  is 
twilight. 

Peer  Gynt  stands  outside  the  door  and  fastens  a large 
wooden  bar  to  it. 

peer  gynt  ( laughing  at  times ) 

Bars  I must  fasten,  to  keep  out  the  foeman, 

To  keep  out  the  troll-folk,  and  man  and  woman. 
Bars  I must  fasten ; yes,  bars  I must  fix  in, 

To  keep  out  the  bogie,  the  hobgoblin  vixen. 

They  come  in  the  night,  with  a tapping  and  blinking : 
Open,  Peer  Gynt,  we  ’re  as  nimble  as  thinking ! 

One  ’neath  the  bed  bustles,  one  rakes  in  the  ashes, 
Down  the  flue,  like  a fiery  dragon,  one  dashes. 

“ Do  you  think,  Peer,  that  bolting,  or  barring,  or 
locking 

Can  shut  out  the  hobgoblin  thoughts  that  are  knock- 
ing? ” 

[Solveig  enters  on  snow-shoes  over  the  heath;  she 
has  a shawl  over  her  head  and  a bundle  in  her  hand. 

SOLVEIG 

God  prosper  your  labor.  You  must  not  reject  me. 
I was  call’d.  I have  come.  And  so  you  must  pro- 
tect me. 

PEER  GYNT 

Solveig!  It  cannot  be- — -!  Yes,  it  is  she  — 

And  you  are  not  afraid  to  come  here  to  me ! 

SOLVEIG 

I was  call’d  by  the  word  you  sent  through  my  sister; 
I was  call’d,  I was  call’d  in  peace  and  in  riot; 

I was  call’d,  when  I met  your  mother  and  kist  her; 


SCENE  III] 


PEER  GYNT 


85 


And  her  words  bred  dreams  that  still  call’d  me  in 
quiet. 

Desolate  days,  and  nights  heavy  and  drear, 

Called  me  away,  and  bade  me  come  here. 

Life  seem’d  stifled  down  there ; I could  not  bring  out 
The  tears  from  my  heart,  nor  could  laughter  ring  out. 
I knew  not  for  certain  what  you  wanted  or  would  do ; 
I knew  but  for  certain  what  I must  do  and  should  do. 

PEER  GYNT 

But  your  father? 

SOLVEIG 

Nowhere  in  God’s  earth  at  all 
Are  there  any  whom  father  or  mother  I call. 

I have  loosed  me  from  all. 

PEER  GYNT 

My  Solveig ! My  own  dear ! 

And  to  come  here  to  me? 

SOLVEIG 

Yes : to  you  alone,  dear ; 
You  must  be  all;  you  must  love  and  console  me. 

[In  tears . 

To  leave  little  Helga,  ah ! that  was  the  worst ; — 

But ’t  was  worse  when  from  my  father  I stole  me; 
And  worst  to  leave  her  at  whose  breast  I was  nurst ; — 
Ah  no ! The  worst  sorrow,  the  hardest  endeavor, 
God  forgive  me ! was  from  them  all  to  sever ! 

PEER  GYNT 

And  you  know  the  decree  that  was  pass’d  in  the 
spring? 

I forfeit  farm,  heritage,  everything. 

SOLVEIG 

Think  you  for  heritage,  goods,  and  gear 
I left  my  own  people  and  wander’d  here? 


86 


PEER  GYNT 


[act  in 


PEER  GY NT 

And  you  know  that  if  outside  the  wood  I betake  me 

Whoever  meets  me,  can  a prisoner  make  me? 

SOLVEIG 

I sped  here  on  snow-shoes.  “ Where,  then,  do  you 
roam?  ” 

Folks  asked,  when  I questioned  the  way:  I said, 
“ Home.” 

PEER  GYNT 

I can  throw  away  nails  and  planks  with  impunity, 

And  locks  meant  for  hobgoblin-thoughts’  impor- 
tunity ! 

If  you  with  the  hunter  dare  to  dwell 

The  hut  will  be  blessed  with  a holy  spell. 

Solveig!  Let  me  look  at  you!  Ah!  not  too  near! 

Only  look  at  you ! How  fair ! How  pure ! How 
dear ! 

Let  me  lift  you  up  ! Oh ! how  light  and  how  fine ! 

Let  me  carry  you ! I ’ll  never  tire,  Solveig  mine ! 

Your  beautiful  body  I ’ll  hold  far  away  from  me 

Lest  to  it  some  stain  or  smirching  may  stray  from  me ! 

Who ’d  have  thought  I could  draw  you  here  for  my 
keeping;  — 

Ah!  but  how  I have  longed  for  you,  waking  and 
sleeping. 

You  can  see,  I ’ve  been  hewing  and  building,  here; 

But  it ’s  ugly  and  mean ; it  must  down  again 
dear 

SOLVEIG 

Be  it  mean  or  brave  — here  is  all  to  my  mind. 

One  can  breathe  with  such  ease  in  the  teeth  of  the 
wind. 

Down  below  it  was  stifling ; one  felt  one’s  breath  fail ; 


SCENE  III] 


PEER  GYNT 


87 


It  was  partly  that  drove  me  in  fear  from  the  dale. 
But  here,  where  the  soughing  of  firs  greets  the  ear,  — 
What  a stillness  and  song ! — I am  in  my  home  here. 

PEER  GYNT 

Solveig,  are  you  sure?  Till  your  life’s  end?  For 
ever? 

SOEVEIG 

The  path  I have  trodden  leads  back  again  — never  ! 

PEER  GYNT 

Mine ! In ! Let  me  see  you  within,  my  desire ! 

Go  in ! I must  fetch  fir-roots  for  the  fire ; 

The  fire  shall  be  cosy,  with  bright  flames  a-quiver, 
You  shall  sit  softly,  my  love,  and  ne’er  shiver. 

[He  opens  the  door;  Solveig  goes  in.  He  stands  still 
for  a moment ; then  laughs  loudly  for  joy  and  leaps 
into  the  air. 

PEER  GYNT 

My  own ! My  king’s  daughter ! She  is  found,  she ’s 
my  prize  now ! 

Ah ! the  king’s  palace,  built  firm,  shall  arise  now ! 
[He  seizes  his  axe  and  moves  off ; at  the  same  moment 
an  Old-looking  Woman,  in  a tattered  green  gown 
comes  out  of  the  wood;  an  Ugly  Brat,  with  an  ale- 
flagon  in  his  hand,  limps  behind  and  holds  on  to  her 
skirt. 

THE  WOMAN 

Good  evening,  Peer  Swift-foot ! 

PEER  GYNT 

What ’s  that?  Who ’s  there? 

THE  WOMAN 

Old  friends,  Peer  Gynt ! I live  quite  close  here,  Peer. 
We  are  neighbors. 


88 


PEER  GYNT 


[act  III 


PEER  GYNT 

Indeed  ? There  I learn  something  new. 

THE  WOMAN 

As  your  hut  was  builded,  mine  built  itself  too. 

PEER  GYNT 

I ’m  in  haste. 

THE  WOMAN 

Yes ; that  you  always  were,  friend. 
But  I ’ll  trudge  behind  you  and  catch  in  the  end. 

PEER  GYNT 

You  ’re  mistaken,  good  woman ! 

THE  WOMAN 

I was  so  before ; 

Mistaken  in  all  that  you  promised  and  swore. 

PEER  GYNT 

I promise  — ? What  in  hell  do  you  mean  by  your 
blather? 

THE  WOMAN 

You ’ve  forgot  the  grand  night  when  you  drank  with 
my  father? 

You ’ve  forgot? 

PEER  GYNT 

I ’ve  forgot  what  I never  have  known. 
What ’s  your  chatter  about  ? When  met  we  last, 
crone  ? 

THE  WOMAN 

When  we  met  last  was  when  we  met  first. 

{To  The  Brat) 

Give  father  a drink.  I ’m  sure  he ’s  a-thirst. 

PEER  GYNT 

Father?  You ’ve  been  drinking?  You  dare  call  that 
imp ? 


SCENE  III] 


PEER  GYNT 


89 


THE  WOMAN 

Can’t  you  tell  the  pig  by  his  skin?  Look  there! 
Where  are  your  eyes  ? See ! the  boy ’s  got  a limp 
In  his  leg,  as  you  have  in  your  soul,  my  Peer. 

PEER  GYNT 

Would  you  have  me  believe ? 

THE  WOMAN 

Would  you  wriggle  out ? 

PEER  GYNT 

That  lanky  imp? 

THE  WOMAN 

He  has  grown. 

PEER  GYNT 

You  troll-snout ! 

Do  you  dare  to  attempt  to  father  on  me ? 

THE  WOMAN 

Come  now,  Peer  Gynt,  you  ’re  as  rude  as  can  be ! 

( Weeping) 

Is  it  my  fault,  that  I am  not  so  pretty 
As  I was  when  you  lured  me  with  dance  and  ditty? 
Last  fall,  in  my  travail,  the  Fiend  gripped  my  back, 
And  of  course  I ’m  a fright  after  such  an  attack. 
But  if  you  would  see  me  as  fair  as  before, 

You  need  but  to  turn  that  wench  from  your  door, 
Drive  her  away  from  your  soul  and  your  sight ; — 
And  I ’ll  lose  my  snout,  love,  and  no  more  be  a fright ! 

PEER  GYNT 

Begone  from  me,  troll-witch ! 

THE  WOMAN 
PEER  GYNT 

I will  split  your  skull! 


Go  away,  Peer?  Not  I! 


90 


PEER  GYNT 


[act  m 


THE  WOMAN 

H’m,  if  you  dare  to,  try ! 
Ha-ha,  Peer  Gynt,  of  that  I ’ve  no  fear. 

I will  come  again  every  day  of  the  year. 

I will  peep  at  you  both,  through  the  door  set  a-jar. 
When  you  ’re  tender  and  sit  with  your  girl  by  the 
ingle, 

I ’ll  watch  how  you  pet,  how  caressing  you  are  — 

I ’ll  sit  down  and  in  your  embraces  I ’ll  mingle. 

We  will  share  you,  we  two;  your  love  I ’ll  divide  with 
her. 

Farewell,  dear!  To-morrow  to  church  you  may  ride 
with  her! 

PEEK.  GYNT 

You  nightmare  of  hell ! 

THE  WOMAN 

And  of  course  there  is  that ! 
You  light-footed  loon,  you  must  breed  }rour  own  brat ! 
Little  imp,  will  you  go  to  your  dad? 
the  beat  ( spits  at  him ) 

Faugh,  I ’ll  hit 

And  chop  you  with  my  axe ; only  wait,  wait  a bit ! 
the  woman  ( kissing  The  Brat ) 

What  a head  he  has  got  on  his  shoulders,  the  cure ! 
When  you  ’re  grown,  you  ’ll  be  dad’s  living  image, 
I ’m  sure ! 

PEEK  GYNT 

Would  you  were  as  far ! 

the  woman 

As  we  are  near  now? 

peek  gynt  ( clenching  his  hands ) 

All  this ! 


SCENE  III] 


PEER  GYNT 


91 


THE  WOMAN 

Only  for  thoughts  and  desires ; I vow 
It  is  hard  on  you,  Peer ! 

PEER  GYNT 

’T  is  worst  for  another ! 
Solveig,  my  jewel,  my  maid  of  pure  gold! 

THE  WOMAN 

Said  the  devil,  The  guiltless  must  smart.  His  mother 
Hit  his  head  when  his  father ’d  drunk  all  he  could 
hold! 

[ She  trudges  into  the  thicket  with  The  Brat  who 
throws  the  ale-flagon  at  Peer  Gynt. 
peer  gynt  ( after  a long  silence) 

Roundabout,  said  the  Boyg.  And  so  I must  here  — 
My  king’s  palace  with  clatter  to  pieces  crashes ! 
There ’s  a wall  around  her,  whom  I was  so  near ; 

Of  a sudden  all ’s  ugly,  my  joy  is  but  ashes.  — 
Roundabout,  lad ! There ’s  never  a way 
Right  through  this  to  where  she  is  standing  to-day. 
Right  through?  There  should  be  a way  — there’s 
a sentence, 

Could  I only  recall  it,  that  speaks  of  repentance. 
But  what?  What  is  it?  No  book  to  remind  me! 

I ’ve  forgotten  it  mostly,  and  here  I can’t  find  me 
Any  to  help  thrust  this  muddle  behind  me.  — 
Repentance?  For  years  I might  fight  and  wrestle 
Ere  I won  my  way  through.  ’T  were  a poor  life  and 
hard. 

What  is  lovely  and  pure  to  bray  with  a pestle, 

Then  remake  it  from  many  a fragment  and  shard! 
You  can  mend  a fiddle,”  but  never  a bell. 

No  use  wishing  lawns  green,  if  you  tramp  them  as 
well. 


92  PEER  GYNT  [act  m 

But  it ’s  only  a lie,  this ! That  witch  with  her 
snout ! 

Now  is  all  their  beastliness  out  of  sight,  out  — 

No  — though  out  of  sight,  it  is  not  out  of  mind. 
Stealthily  thoughts  creep  in  from  behind. 

Ingrid!  And  the  three,  dancing  on  the  hill-crest! 
Will  they  want  to  share?  Indignantly,  spitefully, 
Will  they  claim,  as  she,  to  be  claspt  to  my  breast? 
In  my  outstretcht  arms  to  be  lifted  delightfully? 
Roundabout,  lad!  For  though  I possest 
Arms  as  long  as  the  roots  of  a fir,  yet  I fear, 

Even  then,  I should  hold  my  Solveig  too  near 
To  put  her  down  stainless  and  pure  and  clear.  — 

I must  roundabout  here,  as  best  I may; 

I stand  to  gain  nothing,  lose  nothing,  that  way. 

One  must  put  such  things  from  one!  Forget  and 
defy  — 

( Goes  a little  way  towards  the  hut,  hut  stops  again ) 
Go  in  after  this?  Stain’d  with  muck  of  the  sty? 

Go  in  with  that  troll-rabble  hard  at  my  heel? 

Speak,  yet  be  silent?  Confess,  yet  conceal  — ? 

( Throws  away  his  axe ) 

It ’s  a holy-day  evening.  For  me,  as  I am, 

To  keep  tryst  with  my  bride,  were  a sin  fit  to  damn. 
Solveig  (in  the  doorway ) 

Art  coming? 
peer  gy nt  (half  aloud) 

Roundabout ! 


SOLVEIG 
PEER  GYNT 


What? 


You  must  wait. 

I ’ve  got  something  heavy  to  fetch,  and  it ’s  late. 


SCENE  iv] 


PEER  GYNT 


93 


SOLVEIG 

Stay!  I will  help  you.  A burden?  We  ’ll  share  it. 

PEER  GYNT 

No!  Stay  where  you  are,  alone  I must  bear  it. 

SOLVEIG 

Don’t  go  too  far,  Peer ! 

PEER  GYNT 

Be  patient,  dear; 

Be  it  far  or  near,  you  must  wait. 

Solveig  ( nodding  after  him ) 

I ’ll  wait  here  ! 

[ Peer  Gynt  goes  down  the  path  in  the  wood.  Solveig 
stays , standing  in  the  half -open  door. 

SCENE  FOUR 

Ase’s  room.  Evening.  A wood  fire  gives  warmth  and 
light.  The  cat  is  on  a chair  at  the  foot  of  the  bed. 

Åse  lies  on  the  bed  and  twitches  restlessly  at  the 
coverlet. 

Åse 

0 Lord  my  God,  won’t  he  come  nigh  me? 

The  night  drags  so  slow  and  the  day. 

I ’ve  none  to  send  tell  him,  how  by  me 
Thoughts  flash  of  the  things  I must  say. 

1 have  n’t  a moment  to  spare  now ! 

Who ’d  ever  have  thought  ’t  was  so  near ! 

Ah ! the  only  thing  that  I care  now 

Is  to  know  if  I ’ve  been  too  severe ! 
peer  gynt  ( enters ) 

Good  evening ! 

ÅSE 

The  Lord  give  you  gladness ! 


94 


PEER  GYNT 


[act  III 


Then  you  have  come ! My  boy,  my  dear ! 

But  to  enter  the  valley  was  madness ! 

You  know  your  life ’s  forfeit  here. 

PEER  GYNT 

Let  life  go  as  it  will,  no  matter ! 

I was  near,  and  I could  n’t  have  past. 

Åse 

Ay,  now  Kari  has  gone  with  her  chatter, 

I ’ll  depart  in  peace  at  the  last ! 

PEER  GYNT 

Depart!  Why,  where  are  you  going? 

What  are  you  saying?  Leave  this? 

ÅSE 

My  time  to  its  close  is  growing; 

Peer,  the  end  is  near;  it  is. 

peer  gynt  ( writhing  and  going  to  the  back  of  the 
room ) 

See  there  now!  I ’m  fleeing  from  sorrow; 

Here  at  least  I thought  peace  I ’d  have  won ! 

Are  your  hands  and  feet  cold? 

ÅSE 

To-morrow 

It  will  all  be  over  and  done. 

When  my  eyes  have  dimmed,  dear,  don’t  you 
Forget  to  close  them  with  care. 

And  you  ’ll  see  to  my  coffin,  won’t  you? 

And  have  it  a fine  one,  Peer? 

Ah  ! no  ! I forgot 

PEER  GYNT 

Don’t  bother ! 

We  ’ll  think  of  such  things  when  we  must. 

ÅSE 

Yes  ( looks  restlessly  round  the  room ) 


SCENE  IV  ] 


PEER  GYNT 


95 


The  little  they  left  your  mother 
You  can  see.  It  was  like  them,  just. 
peer  gynt  ( writhing ) 

There  again ! ( Harshly ) 

What ’s  the  use  ? Am  I blinking 
The  fact  that  ’t  was  I was  to  blame? 

Åse 

You!  No!  That  damnable  drinking, 

From  that  the  disaster  came! 

You  know,  you ’d  had  more  than  a drain,  dear, 
And  then  no  one  can  tell  what  he ’s  at ; 

Besides,  you ’d  been  riding  the  reindeer; 

No  wonder  you  acted  like  that! 

PEER  GYNT 

Yes,  yes ; let  that  old  tale  rest  now. 

Let  the  whole  affair  rest  as  it  may. 

All  that  is  dreary,  ’t  were  best  now 
Let  slip  till  — another  day. 

(Sits  on  the  edge  of  the  bed ) 

Now,  mother,  we  ’ll  talk  as  of  yore,  dear; 

Of  this  and  of  that,  you  and  I; 

Forget  what  is  sharp  and  sore,  dear, 

And  all  that  is  crabb’d  and  awry. 

There ’s  old  Puss  on  the  chair  a-sitting ; 

So  she  is  alive  and  here? 

ÅSE 

Of  nights  she’s  growling  and  spitting; 

You  know  what  that  bodes,  my  dear! 
peer  gynt  (changing  the  subject) 

Have  you  news  here  to  greet  my  returning? 

Åse  (smiling) 

They  say,  and  it  is  not  denied, 

There ’s  a girl  for  the  highlands  yearning 


96 


PEER  GYNT 


[act  m 


peer  gynt  ( hastily ) 

Mads  Moen,  is  he  satisfied? 

Åse 

They  say  that  the  old  folk  are  praying 
With  tears,  and  she  pays  no  heed. 

You  might  run  in,  without  staying  — 

You,  Peer,  might  help  in  their  need. 

PEER  GYNT 

What  news  of  the  smith  now,  mother? 

Åse 

Don’t  talk  of  the  dirty  tyke! 

Let  me  tell  you  the  name  of  that  other, 

The  name  of  the  girl ; I ’d  like 

PEER  GYNT 

No,  now  we ’ll  talk  as  of  yore,  dear, 

Of  this  and  of  that,  you  and  I ; 

Forget  what  is  sharp  and  sore,  dear, 

And  all  that  is  crabb’d  and  awry. 

Are  you  thirsty?  Shall  I bring  you  drink,  dear? 
Can  you  stretch  yourself?  That  bed ’s  a toy ! 
Let  me  see ! Why,  surely,  I think,  dear, 

It ’s  the  bed  that  I had  when  a boy ! 

You  sang  many  a song,  you  remember? 

As  you  sat  down  here  by  my  bed; 

To  shorten  the  nights  of  November, 

And  I had  the  fur  over  me  spread. 

ÅSE 

Ah!  remember!  We  play’d  at  sledges 
When  your  father  was  far  away;  there 
For  our  fiord  with  the  sharp  ice-edges 
The  floor ; and  our  apron  the  fur. 

PEER  GYNT 

Yes ; but  the  best  of  course  is  — 


SCENE  iv] 


PEER  GYNT 


97 


Do  you  remember  that,  too, 

Mother?  — the  fleet-footed  horses  — 

ÅSE 

Remember ! Be  sure  I do  ! 

We  had  Ivari’s  cat  as  a loan,  and 
It  sat  on  the  chair ; oh  ! the  fun 

PEER  GYNT 

To  the  Castle  West  of  the  Moon  and 
The  Castle  East  of  the  Sun, 

To  Soria-Moria  Castle, 

High  and  low,  the  road  ran  wide. 

We  found  a stick  with  a tassel: 

’T  will  serve  for  a whip,  we  cried. 

ÅSE 

I sat  up  on  the  box  seat  proudly  — 

PEER  GYNT 

Yes ; you  drove  with  the  reins  quite  slack 
And  turn’d,  as  we  ran  on,  and  loudly 
Askt,  was  I cold?  Did  I lack? 

God  bless  you,  old  mother  mine,  there ! 

You  were  always  kindly,  you  — 

Where  is  your  pain? 

ÅSE 

At  my  spine.  There 
I can  feel  the  hard  boards  through. 

PEER  GYNT 

Stretch  yourself!  I will  be  loving 
And  hold  you ! Now  you  lie  soft. 

Åse  {restlessly) 

No,  Peei*,  I ’d  be  moving! 

PEER  GYNT 


Moving? 


98 


PEER  GYNT 


[act  in 


ÅSE 

Aje,  moving,  I want  to  oft. 

PEER  GYNT 

Nonsense!  A short  night  I’ll  bring  you; 

I will  sit  down  here  by  the  bed ; 

And  many  a song  I will  sing  you; 

See ! the  fur  is  over  you  spread ! 

ÅSE 

My  pray’r  book,  Peer ! It,  ere  I pass,  ’ll 
Console  me.  I ’m  troubled  at  heart ! 

PEER  GYNT 

In  Soria-Moria  Castle 

The  King’s  feast  is  going  to  start. 

Lie  snug  ’mid  the  cushions  hidden; 

Right  over  the  heath  we  will  fare. 

Åse 

But  Peer,  darling,  are  we  bidden? 

PEER  GYNT 

Yes,  mother,  both  of  us. 

(Throws  a string  round  the  chair  the  cat  is  on; 
takes  a stick  in  his  hand  and  sits  at  the  foot  of  the 
bed) 

There ! 

Gee-up  ! Come,  Black-beauty,  go  it ! 

Are  you  cold,  mother?  Anything  wrong? 

Aye-aye;  by  the  pace  we  know  it, 

When  Grane  gallops  along ! 

ÅSE 

Ah  Peer,  dear,  what  is  that  ringing? 

PEER  GYNT 

’T  is  the  glittering  sledge-bells,  dear ! 

ÅSE 

There ’s  a hollow  rumbling  and  swinging ! 


SCENE  iv] 


PEER  GYNT 


99 


PEER  GYNT 

We  cross  over  a fiord  just  here! 

ÅSE 

I ’m  afraid ! What  is  that  I hear  sighing 
And  rushing  so  wild  and  drear? 

PEER  GYNT 

It ’s  the  fir-trees,  mother,  a-cr jing ! 

Sit  still,  and  have  no  fear. 

ÅSE 

Far-off  there ’s  a sparkling  and  gleaming ! 
Whence  comes  that  glittering  day? 

PEER  GYNT 

From  the  Castle  windows  ’t  is  streaming. 
Can  you  hear  them,  they  ’re  dancing? 


PEER  GYNT 

Outside  there  stands  Saint  Peter 
And  prays  you  to  enter  in. 

ÅSE 

Poor  Åse? 

PEER  GYNT 

He ’s  honor’d  to  greet  her ; 
And  brings  the  best  wine  from  the  bin. 

ÅSE 

Wine,  Peer!  And  are  there  cakes  there? 

PEER  GYNT 

Rather ! a heaped-up  plate ! 

And  the  late  Dean’s  wife  she  makes  there 
Your  coffee  right  by  the  gate. 

ÅSE 

Shall  I meet  her  after  arriving? 


100 


PEER  GYNT 


[act  III 


PEER  GY NT 

As  much  as  you  care  to  do. 

ÅSE 

Ah ! Peer,  what  a feast  you  ’re  driving 
Your  poor  old  mother  to ! 
peer  gynt  {cracking  the  whip ) 

Gee-up ! Come,  Black-beauty,  hurry ! 

ÅSE 

Dear!  Are  you  going  right  still? 
peer  gynt  {cracking  again) 

Yes,  the  road  is  broad. 

ÅSE 


The  scurry, 

The  pace  makes  me  tired  and  ill. 

PEER  GYNT 

You  can  see  now  the  castle  rise,  and 
The  journey  is  nearly  done. 

ÅSE 

I will  lie  down,  close  my  eyes  and 
Trust  me  to  you,  my  son ! 

PEER  GYNT 

Come  up  now,  Grane,  and  hustle ! 

There ’s  a throng  in  the  castle  drive ; 

At  the  gates  they  swarm  and  bustle. 

Peer  Gynt  and  his  mother  arrive! 

What  say  you  now,  Lord  Saint  Peter? 

Is  n’t  mother  allow’d  in  there  ? 

You  ’ll  search  long,  ere  you  will  meet  a 
Body  more  honest,  I ’ll  swear, 

Of  myself  I make  no  boast,  Sir ; 

I can  turn  at  the  gate  and  go. 

Should  you  treat  me,  I ’ll  drink  a toast,  Sir, 
Thankfully ; if  not,  so  ! 


SCENE  IV ] 


PEER  GYNT 


101 


Of  fibs  I have  told  as  many 
As  the  fiend  at  the  pulpit-cush, 

I have  call’d  my  mother  “ Henny  ” 

’Cause  she  cluckt  like  a bird  in  a bush. 

But  here  with  respect  you  shall  greet  her 
And  give  her  due  honor  and  praise. 

For  there  does  n’t  come  any  to  beat  her 
From  the  parish  nowadays.  — 

Ho-ho ! God  the  Father’s  coming! 

Saint  Peter,  you  ’re  up  a tree!  {In  a deep  voice ) 

“ Stop  these  airs,  this  official  ha’humming ! 

Mother  Åse  shall  enter  free ! ” 

{Laughs  loudly  and  turns  to  his  mother ) 

There  you  see,  what  did  I say,  dear? 

Now  they  ’re  singing  a different  song!  {In  terror ) 
Your  eyes  are  dim ! Don’t  look  that  way,  dear ! 
Are  you  faint — ? Are  you — ? Mother!  What’s 
wrong  ? 

{Goes  to  the  bed-head ) 

You  mustn’t  lie  there  and  stare  so! 

Speak,  mother ! It ’s  I,  your  son  ! 

{Feels  her  forehead  and  hands  with  care;  throws  the 
string  on  the  chair  and  says  quietly ) 

Now,  Grane,  the  whip  I can  spare.  So ! 

The  journey  is  really  done. 

{Closes  her  eyes  and  bends  over  her ) 

Thanks  for  each  cuddle  and  smack  now, 

For  all  that  you  were  when  alive! 

But  see ! you  must  thank  me  back  now  — 

{Presses  his  cheek  to  her  mouth ) 

There;  that  was  thanks  for  the  drive. 
kari  ( enters ) 

What?  Peer!  Here’s  an  end  to  weeping! 


102 


PEER  GYNT 


[act  m 


The  worst  of  our  need  is  fled! 

Dear  Lord,  how  sound  she  is  sleeping ! 

Or  can  she  be ? 

PEER  GYNT 

Hush!  She  is  dead. 

\Kari  weeps  over  the  body.  Peer  Gynt  walks  round 
the  room  for  a while ; finally  he  stands  beside  the  bed. 

PEER  GYNT 

Eine  let  her  funeral  be,  dame. 

Forth  from  here  I must  try  and  get. 

KARI 

Are  you  going  far? 

PEER  GYNT 

To  the  sea,  dame. 

KARI 

So  far ! 

PEER  GYNT 

Aye,  and  farther  yet.  ( Goes  out ) 


END  OF  THIRD  ACT 


THE  FOURTH  ACT 

SCENE  ONE 

On  the  North-West  coast  of  Morocco.  A palm-grove. 
A table  spread  for  dinner  is  under  an  awning  on  rush 
matting.  Further  back  in  the  grove  hang  hammocks. 
Off  the  land  lies  a steam-yacht,  flying  the  Norwegian 
and  American  flags.  On  the  beach  a jolly-boat.  It  is 
towards  sunset. 

Peer  Gynt,  a handsome,  middle-aged  man,  in  an  ele- 
gant travelling -suit,  with  gold-rimmed  pince-nez  hang- 
ing on  his  breast,  presides  at  the  head  of  the  table. 
Mr.  Cotton,  Monsieur  Ballon,  with  Herr  von  Eberkopf 
and  Herr  Trumpeterstrale  are  finishing  dinner. 

PEER  GYNT 

Drink!  If  man  was  for  pleasure  meant, 

He  must  pursue  the  things  that  please  now. 

You  know ’t  is  written.  Spent  is  spent, 

And  lost  is  lost  — Do  have  some  cheese  now ! 

TRUMPETERSTRALE 

Brother,  you  ’re  princely  as  a host ! 

PEER  GYNT 

Why,  of  my  cash  and  cook  you  might 
Assert  the  same,  my  steward 

MR.  COTTON 

Right ! 

Here ’s  to  the  four  of  you ! A toast ! 

MONSIEUR  BALLON 

Monsieur,  you  have  a gout,  a ton, 


10  4 


PEER  GYNT 


[act  IV 


That  nowadays  is  seldom  found 
Among  men  living  en  gar^on. 

Something,  I know  not  what — 

VON  EBERKOPF 

A tinge, 

A spice  of  free  soul-contemplation, 

And  internationalization, 

An  outlook,  past  the  cloudy  fringe, 

By  narrow  prejudice  unbound, 

A stamp  of  high  illumination, 

An  Ur-Natur,  a life-sensation, 

To  crown  the  trilogy,  united. 

’T  was  that,  Monsieur,  you  wished  to  say? 

MONSIEUR  BALLON 

Perhaps ; it  would  not  sound  that  way, 

So  loftily,  in  French  recited. 

VON  EBERKOPF 

Ei  was!  A stiff  tongue.  We  explore 
The  Absolute,  the  Cause,  the  steady 
And  final  thing 

PEER  GYNT 

’T  is  found  already. 
The  point  is,  I ’m  a bachelor. 

Yes,  gentlemen.  The  matter  is 
Completely  clear.  What  should  a man  be? 
Himself,  I answer,  brief  as  can  be. 

He  should  care  for  himself  and  his. 

But  can  he  if,  a mule,  he  bears 
The  load  of  others’  joys  and  cares? 

VON  EBERKOPF 

This  in-and-for-yourselfness  led,  it 
Must,  I should  think,  to  certain  strife 


SCENE  i] 


PEER  GYNT 


105 


PEER  GYNT 

It  did,  when  I was  starting  life: 

But  always  I came  off  with  credit. 

Once,  ’gainst  my  will,  I very  nearly 
Did  get  entrapp’d.  I was,  you  see, 

Brisk,  handsome,  young,  just  ripe  for  marriage; 
The  girl,  whom  I loved  very  dearly, 

She  was  of  royal  family 

MONSIEUR  BALLON 

Of  royal ? 

peer  gynt  ( carelessly ) 

Yes,  you  know;  allied  to 

The  ancient  lines 

trumpeterstrale  ( hitting  the  table ) 

These  noble  trolls ! 

peer  gynt  ( shrugging  his  shoulders ) 

Old  Fossil  Highnesses!  their  pride  to 
Keep  the  line  pure,  and  to  have  tried  to 
Have  no  plebeian  on  their  rolls. 

MR.  COTTON 

And  so  the  end  was  a miscarriage? 

MONSIEUR  BALLON 

Her  father  frown’d  on  the  alliance? 

PEER  GYNT 

Ear  from  it ! 

MONSIEUR  BALLON 

Ah! 

peer  gynt  ( forbearingly ) 

You  understand 
Reasons  there  were,  made  them  demand 
Th’  affair  should  pass  beyond  affiance. 

That  from  the  start  the  thing  was  far 
From  pleasant  to  me,  must  be  granted. 


106 


PEER  GYNT 


[act  IV 


In  some  things  I ’m  particular, 

I like  to  stand  alone,  firm-planted. 

So  when  the  lady’s  father  came 
And  made  proposals  vague,  and  hinted 
That  I had  better  change  my  name, 

And  have  a coat-of-arms  imprinted, 

With  other  things  that  did  n’t  strike  at  all 
My  fancy,  things  I did  n’t  like  at  all  — 

I gracefully  withdrew ; replied 
“ No  ” to  his  final  proposition  — 

And  so  renounced  my  youthful  bride. 
{Drums  on  the  table  with  a pious  air ) 
Yes;  there ’s  a Fate  guides  our  ambition! 
There  can  we  mortals  put  reliance; 

And ’t  is  a comfortable  science. 

MONSIEUR  BAELON  ' 

And  so  the  matter  ended  there? 

PEER  GYNT 

Oh  no ! Some  fellows  most  intrusive, 

Who  were  excessively  abusive, 

Mixt  themselves  up  in  the  affair. 

Worst  were  the  house’s  youngest  scions. 

I fought  with  seven,  as  strong  as  lions. 

It  was  a time  I shan’t  forget, 

Though  I pull’d  through,  and  live  as  yet. 
It  cost  me  blood ; the  blood  I ’ve  spent 
Attests  my  value  with  precision, 

And  clearly  points  to  that  event, 

Mention’d  above,  Fate’s  supervision. 

VON  EBERKOPF 

The  view  you  take  of  life,  Herr  Peer, 

Gives  you  the  name  Philosopher. 

For  where  the  commonplace  empiric 


SCENE  i] 


PEER  GYNT 


107 


Sees  all  in  scraps,  and  naught  generic, 

And  never  stops  his  stupid  stumbling. 

You  hold  all  things  at  once,  unfumbling. 

One  norm  you  use  for  all  and  each; 

You  point  each  random  illustration 
To  one  great  centre,  and  so  reach 
A glorious  life-contemplation ! 

And  you  have  never  been  to  College? 

PEER  GYNT 

I am,  I told  you  once,  I thought, 

A man  exclusively  self-taught. 

To  steady  methods  I ne’er  took; 

But  I have  thought  and  studied  knowledge, 

And  skimmed  the  gist  of  many  a book. 

I did  n’t  start  till  I was  getting 

Well  on  in  years ; ’t  is  hard  then,  setting 

The  mind  to  know  a subject  truly, 

The  ins  and  outs  to  study  duly. 

Historians  I have  open’d  fitfully; 

I ’ve  had  no  time  for  learning  real. 

And  since  one  needs,  when  life ’s  a bubble, 

To  trust  to  some  profound  ideal, 

Religion  I have  taken  flitfully; 

It  slides  down  so,  without  much  trouble. 

Don’t  read  to  swallow ! Read  to  choose,  for 
’T  is  but  to  see  what  one  has  use  for. 

MR.  COTTON 

Practical,  that  is ! 
peer  gynt  ( lighting  a cigar ) 

Let ’s  recall  then, 

Dear  friends,  the  stages  of  my  story. 

How  came  I to  the  land  of  glory 

Out  West?  Dead  poor,  my  hands  my  all  then! 


108 


PEER  GYNT 


[act  IV 


I fought  for  bread  ’mid  all  that  glitter ; 

Believe  me,  it  was  hard,  severe. 

But  life,  my  friends,  ah ! life  is  dear ; 

And,  as  they  tell  us,  death  is  bitter. 

Well,  Luck,  ere  long,  you  know,  was  kind  to  me ; 
And  old  Fate,  too,  he  had  a mind  to  me; 

I prosper’d.  Some  gifts  were  assigned  to  me 
At  birth.  I used  them.  Prosper’d  more. 

In  ten  years’  time  this  name  I bore: 

“ The  Croesus  of  the  Charlestown  shipping.” 
My  fame  flew  fast  from  lip  to  lip  in 
Port  after  port.  Luck  sail’d  aboard  — 

ME.  COTTON 

What  did  you  trade  in? 

PEER  6YNT 

Most  I scored 

By  Negro-slaves  for  Carolina 
And  idol-images  for  China. 

MONSIEUR  BALLON 

Fi  done! 

TRUMPETERSTRÅLE 

The  devil ! Uncle  Gynt. 

PEER  GYNT 

The  trade  was  almost  absolutely 
Impossible  is  what  you ’d  hint  ? 

I felt  the  same  myself  acutely. 

I thought  it  ev’n  abominable, 

But,  pray  believe  me,  once  you  ’re  in ’t, 

To  break  away  you  ’ll  scarce  be  able. 

’T  is  very  hard  to  interrupt 
So  vast  a business,  so  expensive, 

Employing  thousands  in  extensive 
Enterprise ; to  end  all  abrupt. 


SCENE  i] 


PEER  GYNT 


109 


It ’s  that  “ abrupt  ” I can’t  abide ; 

But  own,  upon  the  other  side 
I ’ve  always  found  myself  agree 
With  those  who  care  for  consequences ; 

And  that  to  over-step  the  fences 
Has  never  seem’d  quite  nice  to  me. 

Besides  that,  youth  and  I were  sundering; 
Back  to  the  forties  no  endeavor 
Would  take  me;  and  my  hair  was  gray; 
And  though  my  health  could  not  be  better, 
A thought  clung  to  me,  like  a fetter; 

Who  knows,  how  soon  may  dawn  the  day 
When  the  great  verdict  shall  be  thundering 
That  parts  the  sheep  and  goats  forever? 
What  could  I do?  I couldn’t  stop  them, 
The  idols,  it  was  evident. 

I found  a way,  nor  had  to  drop  them ; 

With  the  old  another  trade  I blent. 

Each  spring  the  gods  I still  exported; 

Each  autumn  preachers  I escorted, 
Supplying  them  with  all  they  wanted, 

As  stockings,  Bibles,  rice  and  rum 

MR.  COTTON 

Yes,  at  some  profit? 

PEER  GYNT 

Yes ; at  some. 

It  prosper’d.  The  true  seed  they  planted. 
For  every  idol  that  was  sold, 

They  got  a coolie  in  the  fold, 

And  so  the  effect  was  neutralized. 

Fallow  the  field  was  never  lying; 

The  idols,  which  were  pushed  and  prized, 
Still  with  the  mission-work  were  vying. 


110 


PEER  GYNT 


[act  IV 


MR.  COTTON 

What  of  the  African  commodities? 

PEER  GYNT 

There  too  my  ethic  won  the  fight. 

The  trade  for  those  could  not  be  right, 

Whose  hair  was  thin,  and  gray  the  tint  of  it. 

The  end  oft  comes  without  a hint  of  it. 

And  then  the  philanthropic  oddities 
Carefully  laid  a thousand  traps ; 

Besides  so  many  a busybody,  ’t  is 
A risk  from  weather  and  mishaps. 

At  all  these  who  his  finger  snaps? 

I said,  now  Peter,  take  a reef  in 

Your  sails  ! Stop  sins  that  you ’ve  been  chief  in ! 

In  land  down  south  I speculated, 

Kept  back  the  last  carcass-consign, 

Which  happened  to  be  very  fine. 

They  grew  so  sleek  and  fat  past  measure 
It  was  to  me  and  them  a pleasure. 

I ’ve  said  too,  nor  exaggerated, 

I was  their  father  — and  was  blest 
By  getting  a fair  interest. 

I built  them  schools ; and  so  a stated 
Amount  of  virtue  might  be  gain’d 
And  at  a level  strict  maintain’d ; 

And  care  I took  that  not  at  all 
Below  that  level  it  should  fall. 

Now,  to  save  further  perturbation, 

I’ve  withdrawn  from  the  whole  affair; 

Finally,  sold  the  slave-plantation 
And  all  the  live-stock,  hide  and  hair. 

At  parting,  too,  I gave  to  all 
Grog  gratis,  both  to  big  and  small ; 


SCENE  i] 


PEER  GYNT 


111 


Men,  women,  had  a drunken  riot, 

And  widows  took  their  snuff  in  quiet. 

And  so  I hope  — and  I am  not 
Rash,  if  the  ancient  saying ’s  true, 

That  those  do  good,  who  no  ill  do  — 

That  my  past  errors  are  forgot; 

I think  my  virtue  is  availing 
To  balance  ’gainst  my  frequent  failing. 
von  eberkope  ( chinks  glasses  with  him ) 

What  strengthening  thoughts  your  words  awaken ! 

A principle  you  bold  apply, 

Freed  from  the  night  of  theory, 

By  all  external  stir  unshaken ! 
peer  gynt  ( during  the  preceding  passages  he  has  ap- 
plied himself  steadily  to  the  bottle ) 

With  us  North  men  the  town  is  taken 
If  it ’s  besieged  at  all.  The  master, 

Prevailing  key  of  life’s  nought  but 
To  keep  one’s  ear  securely  shut 
Against  a snake  that  brings  disaster. 

MR.  COTTON 

And  what ’s  this  foe  that  we  must  cut? 

PEER  GYNT 

One,  who  with  slyness  unbelievable 

Tempts  us  to  do  the  irretrievable.  ( Drinking  again ) 

The  true  whole  of  the  Art  of  daring, 

Of  real  pluck  in  act  the  Art  — 

Is  this : choice-free  to  stand,  apart, 

Midst  all  life’s  treachery  and  snaring  — 

To  know  for  sure,  another  day 
Remains  beyond  the  day  of  battle; 

To  know  a bridge  is  standing,  that  ’ll 
Bear  you  if  you  retrace  your  way. 


112 


PEER  GYNT 


[act  IV 


This  theory  far  has  carried  me ; 

From  it  the  note  of  my  career  is; 

Again,  this  rule  by  which  I steer  is 
From  childhood’s  home  a legacy. 

MONSIEUR  BALLON 

You  are  Norwegian? 

PEER  GYNT 

Yes,  by  birth; 

A citizen  of  all  the  earth 

In  soul ; for  luck  that ’s  come  my  way 

I have  to  thank  America. 

The  later  German  schools  have  given 
The  books  on  which  my  mind  has  thriven. 

From  France  there  has  come  many  a vest  for  me, 

My  manners,  and  my  spice  of  wit  — 

From  England  hands  for  labor  fit 
And  a keen  sense  of  what  is  best  for  me; 

The  Jew  has  taught  me  how  to  wait, 

While  dolce  — we  all  learn  ere  twenty, 

So  I,  from  Italy,  far  niente. 

And  once,  when  in  a parlous  strait, 

To  turn  completely  my  life’s  wheel, 

I had  recourse  to  Swedish  steel. 
trumpeter strÅle  ( lifting  his  glass ) 

Yes,  Swedish  steel ! 

VON  EBERKOPF 

The  man  who  sways 

The  steel  sword  first  demands  our  praise ! 

[ They  clink  glasses  and  drink  with  him.  The  wine 
begins  to  go  to  his  head. 

MR.  COTTON 

All  this  is  very  good,  I see. 


SCENE  i] 


PEER  GYNT 


113 


But,  sir,  one  thing  still  worries  me  — 

What  with  your  gold  d’  you  think  of  doing? 

PEER  GYNT 

H’m.  Doing?  What? 
all  four  ( coming  nearer) 

Let ’s  hear  what ’s  brewing ! 

PEER  GYNT 

First  I would  get  some  travel  out  of  it. 

You  see,  sirs,  that ’s  why  I shipped  you 
To  keep  me  company,  at  Gibraltar. 

A choir  of  friends  I needed,  who 

Would  dance  around  my  gold-calf  altar 

VON  EBERKOPF 

A witty  word ! 

MR.  COTTON 

But  there ’s  no  doubt  of  it, 

None  hoists  sails  merely  for  the  sailing. 

There  is  some  port  that  you ’d  be  hailing. 

And  that  is ? 

PEER  GYNT 

To  be  Emperor. 

ALL  FOUR 

What? 

peer  gynt  ( nodding ) 

Emperor ! 

ALL  FOUR 

Where  ? 

PEER  GYNT 

The  whole  world  over! 

MONSIEUR  BALLON 

But  how,  friend? 

PEER  GYNT 

By  the  might  of  money! 


114 


PEER  GYNT 


[act  IV 


The  plan,  you  know,  is  nothing  new; 

In  it  my  true  soul  I discover. 

Ev’n  as  a boy,  in  visions  sunny, 

On  clouds  far  o’er  the  sea  I flew. 

With  golden  scabbard  and  with  train 
I soar’d  — then  down  I dropp’d  again. 
But,  friends,  I ne’er  forgot  my  port.  — 
There ’s  a text,  or  something  of  the  sort, 
Somewhere,  I don’t  remember  where: 

If  you  gain’d  the  whole  world,  it  said, 
And  lost  yourself,  your  great  gain  were 
A garland  on  a cloven  head. 

That  text,  or  something  like,  in  youth 
I heard ; and  it  is  sober  truth. 

VON  EBERKOPF 

The  Gyntish  self?  What  is  it,  brother? 

PEER  GYNT 

The  world  behind  my  forehead  level, 

By  which  I am  not  any  other 
Than  I,  no  more  than  God ’s  the  Devil. 

TRUMPETERSTRALE 

A-ha,  I see  now  where  you ’d  climb ! 

MONSIEUR  BALLON 

Thinker  superb ! 

VON  EBERKOPF 

Poet  sublime ! 

peer  gynt  ( with  rising  voice ) 

The  Gyntish  self  — what  can  it  be 
But  wishes,  longings,  appetites? 

The  Gyntish  self  — it  is  the  sea 
Of  exigencies,  whims,  and  rights ! 

All  that  to  my  heart  motion’s  giving; 

All,  by  which  I,  as  I,  am  living. 


SCENE  i] 


PEER  GYNT 


115 


But  as  the  Lord  requires  the  clay 
For  worlds,  which  Him  as  God  obey; 

So  I need  gold  if  I would  stand 
Emperor  over  every  land. 

MONSIEUR  BALLON 

But  you  have  gold? 

PEER  GYNT 

Not  enough  pelf. 

P’raps  for  a wonder  nine-days-old, 

An  Emperor  å la  Lippe-Detmold. 

But  I must  be  en  bloc  myself, 

The  Gynt  o’er  all  the  globe  victorious, 

Sir  Gynt,  from  top  to  bottom,  glorious ! 
monsieur  ballon  (in  transports ) 

Of  world-beauty  to  be  proprietor! 

VON  EBERKOPE 

J ohannisberger  ages  old ! 

TRUMPETERSTRÅLE 

And  all  the  blades  of  Karl  the  Bold ! 

MR.  COTTON 

But  first  a business-opening  quiet,  or 
Some  wider  scheme 

PEER  GYNT 

That  is  provided; 

Our  anchoring  at  this  point  supplied  it. 
To-night  we  sail  off  northerly. 

Letters  on  board,  that  came  to  me, 

Have  brought  me  tidings  most  momentous  — 
( Rises  with  lifted  glass) 

Fate  never  keeps  us  in  the  prison 

If  we ’ve  the  pluck  to  use  what ’s  lent  us 

THE  FOUR 

Well?  Tell  us  — Quickly ! 


116 


PEER  GYNT 


[act  it 


PEER  GYNT 


Greece  has  risen. 

the  four  {jumping  up) 

What?  Greece ? 

PEER  GYNT 

Is  settled  for  a fight. 

THE  FOUR 

Hurrah ! 

PEER  GYNT 

And  Turkey ’s  in  a plight. 

{Empties  his  glass) 

MONSIEUR  BALLON 

To  Hellas!  Glory’s  gate  stands  wide! 

The  sword  of  France  is  on  their  side! 

VON  EBERKOPF 

For  them  my  shouts  (far  off)  shall  rise! 

MR.  COTTON 

I ’ll  help  (for  payment)  with  supplies! 

TRUMPETERSTRÅLE 

Lead  on ! In  Bender  I shall  find 
The  buckles  Charles  XII  left  behind ! 
monsieur  ballon  {falling  on  Peer  Gynt’s  neck) 
Forgive  me!  For  a moment,  look  you, 

I did  misjudge ! 

von  eberkopf  {pressing  his  hands) 

And  I mistook  you, 

Dog!  dolt!  for  just  a scoundrel  utter! 

MR.  COTTON 

Too  strong  that ! Say,  of  fools  a sample 

TRUMPETERSTRÅLE  {tries  to  kiss  him) 

I,  Uncle,  for  a mean  example 
Of  the  worst  products  of  the  gutter 
Of  U.  S.  A. ! 


SCENE  i] 


PEER  GYNT 


117 


VON  EBERKOPF 

We  ’ve  all  been  groping 

PEER  GYNT 

The  deuce ! 

VON  EBERKOPF 

Now  see  we,  past  our  hoping, 

In  glory  gathered  on  the  heights, 

The  Gyntish  whims  and  appetites ! 

monsieur  ballon  ( admiringly ) 

This  is  Sir  Gynt!  This  your  idea! 

VON  EBERKOPF 

’T  is  Gynt  with  honor! 

PEER  GYNT 

It  would  be  a 

Kindness  to 

MONSIEUR  BALLON 

You  don’t  see  it?  Eh? 

PEER  GYNT 

See?  If  I do,  may  I be  damn’d! 

MONSIEUR  BALLON 

What  are  you  not  upon  your  way 
To  Greece,  your  ship  with  money  cramm’d? 

PEER  GYNT 

No,  many  thanks ! I side  with  might, 

Send  cash  to  help  the  Turks  to  fight. 

MONSIEUR  BALLON 

Impossible ! 

VON  EBERKOPF 

Witty,  but  a joke! 

PEER  GYNT 

( After  a little,  leaning  on  his  chair  and  assuming  a 
dignified  mien) 


118 


PEER  GYNT 


[act  IV 


Come,  gentlemen,  I think  it  best 
We  part,  before  we  lose  the  rest 
Of  friendship  blown  away  like  smoke. 

Who  nothing  has  will  lightly  risk  it. 

The  man  who  scarcely  owns  the  earth 
His  shadow  hides,  to  war  may  frisk  it ; 

He ’s  food  for  powder  from  his  birth. 

One  who ’s  a sound  and  stable  figure 
As  I am  — well,  his  stake  is  bigger. 

Go  ye  to  Hellas.  I will  arm  you 
Gratis  and  put  you  all  ashore; 

The  more  you  sound  war’s  wild  alarm,  you 
Will  serve  my  purposes  the  more. 

Strike  home  for  freedom  and  for  right ! 

Give  the  Turks  hell  and  hell’s  hot  night  — 

And  end,  like  heroes  in  romances, 

Pierced  by  the  Janissaries’  lances.  — 

But  I (< Slaps  his  pocket) 

I ’ve  cash.  I am  not  in ’t, 

But  am  myself,  Sir  Peter  Gynt. 

( Puts  up  his  sun-sliade,  goes  into  the  grove,  where  one 
has  a glimpse  of  hammocks) 

TRUMPETER  STRÅLE 

The  swinish  cur! 

MONSIEUR  BALLON 

No  taste  for  glory ! 

MR.  COTTON 

Oh ! glory ’s  quite  another  story ! 

But  think  what  profits  there  would  be 
For  us  if  Greece  did  struggle  free. 

MONSIEUR  BALLON 

I saw  myself  with  conquests  laden 
And  clasp’d  by  many  a Grecian  maiden ! 


SCENE  i] 


PEER  GYNT 


119 


TRUMPETERSTRÅLE 

Ah!  in  my  Swedish  hand  I grasp’d 
The  buckles  that  a king’s  shoes  clasp’d ! 

VON  EBERKOPF 

The  culture  of  my  Fatherland 
I saw  dispersed  on  every  hand  — — ! 

MR.  COTTON 

The  loss  in  cash  will  stop  me  sleeping ! 

Damn  it!  I scarce  can  keep  from  weeping! 
I saw  me  as  Olympus’  lord. 

If  true  that  mountain’s  reputation 
It  would  good  copper  still  afford, 

If  we  set  up  a mining-station. 

Then  there ’s  Castalia,  that  river 
Which  people  talk  about  forever ; 

Its  falls,  at  a low  estimate, 

Must  be  a thousand  horse-power’s  weight  — 
TRUMPETERSTRÅLE 

I ’ll  go ! My  Swedish  sword  so  bold 
Is  worth  far  more  than  Yankee  gold ! 

MR.  COTTON 

Perhaps;  but  jamm’d  into  the  tussle 
We’d  be  submerged,  kill’d  in  the  bustle; 
And  then  whence  does  the  profit  come? 

MONSIEUR  BALLON 

Accurst!  So  near  to  fortune’s  crown; 

And  now  arrested  at  its  tomb ! 
mr.  cotton  (shaking  his  fist  at  the  yacht') 

In  that  black  chest  is  hammer’d  down 
The  nabob’s  golden  nigger-sweat ! 

VON  EBERKOPF 

A royal  notion ! Quick ! We  ’ll  get  — 


120 


PEER  GYNT 


[act  IV 


Away ! His  empire  goes  to  pot ! 

Hurra ! 

MONSIEUR  BALLON 

What  will  you? 

VON  EBERKOPF 

Seize  the  pow’r! 

I ’ll  buy  the  crew  within  the  hour. 

On  board  then ! I annex  the  yacht ! 

MR.  COTTON 

You what ? 

VON  EBERKOPF 

I grab  it  all  — the  lot ! 

( Goes  down  to  the  jolly-boat) 

MR.  COTTON 

Self-interest  also  orders  me 

To  grab  my  share.  ( Goes  after  him) 

TRUMPETERSTRÅLE 

What  villainy ! 

MONSIEUR  BALLON 

A scurvy  trick — ! But  — enfin!  What? 

( Follows  the  others) 

TRUMPETERSTRÅLE 

Well,  I must  go,  too,  with  the  rest, 

But  to  the  whole  world  I protest ! ( Follows ) 


SCENE  TWO 

Another  part  of  the  coast.  Moonlight  with  drifting 
clouds.  The  yacht,  far  out,  is  going  at  full  speed. 

Peer  Gynt  comes  tearing  along  the  beach.  Now  he  is 
pinching  his  arms;  now  looking  out  over  the  sea. 


SCENE  II] 


PEER  GYNT 


121 


PEER  GYNT 

A nightmare ! A phantom.  Soon  I ’ll  be  waking ! 
Out  to  sea ! What  a furious  pace  she  is  making ! 

A mere  phantom ! I ’m  sleeping ! I ’m  drunk ! dizzy 
— I! 

( Clenches  his  hands ) 

It ’s  impossible  that  I am  going  to  die ! 

( Tears  his  hair) 

A dream ! I will  it ’s  a dream  ! It ’s  mere  fudge ! 

O monstrous  ! It ’s  real,  this  vision  of  fear  — ! 

My  brute-beasts  of  friends ! Oh ! Lord,  do  Thou 
hear ! 

Since  Thou  art  so  wise  and  so  righteous ! O, 
J udge  — ! 

( With  up  stretched  arms ) 

It  is  I,  Peter  Gynt ! Lord,  hearken  ! ’T  is  I ! 

If  Thou  care  not  for  me,  O Father,  I die ! 

Make  them  back  the  machine!  Or  the  jolly-boat 
lower ! 

Stop  the  robbers ! Make  something  go  wrong  with 
the  power ! 

Hearken ! Let  other  folks’  business  lie  by  a bit ! 

The  world  can  look  after  itself  for  a minute, 

As  usual,  He ’s  deaf ! Does  n’t  heed,  though  I cry, 
a bit! 

A nice  thing ! A God  with  a bank  — and  nought 
in  it ! 

{Beckons  upwards) 

Hist ! I ’ve  got  rid  of  the  nigger  plantation ! 

And  I ’ve  sent  good  priests  to  the  heathen  Asian ! 
One  good  turn  is  worth  another,  Lord! 

O,  help  me  on  board ! 

[A  jet  of  fire  shoots  into  the  air  from  the  yacht,  and 


122 


PEER  GYNT 


[act  IV 


heavy  smoke  rolls  up.  A hollow  report  is  heard. 
Peer  Gynt  shrieks,  and  sinks  on  to  the  sand.  Gradu- 
ally the  smoke  fades  away;  the  ship  has  disappeared. 

PEER  GYNT 

’T  was  the  Wrath  and  the  Sword ! 
In  a crack ! To  the  bottom.  All  hands  struck  — ! 
Oh,  forever  praised  be  the  happy  duck  — 

( With  emotion ) 

Luck?  It  was  more  than  that,  much  more!  I, 

I was  to  be  saved  and  they  were  to  die. 

O,  thanks  and  praise  to  Thee  who  hast  wielded 
Thy  might  for  me,  kept  me  in  spite  of  my  sins  — 

( Draws  a deep  breath) 

What  a wonderful  peace  to  the  bosom  wins 
When  a man  can  know  he  is  specially  shielded. 

But  the  desert!  What  about  eating  and  drinking? 
O,  I shall  find  something.  He ’s  able  to  cherish. 
There ’s  no  danger  really.  ( Loudly  and  ingratiat- 
ingly) 

He ’s  sure  to  be  thinking 

That  a poor  little  sparrow  like  me  must  n’t  perish. 
Be  humble ! Don’t  badger  Him ! There  is  no  need ! 
Put  your  cares  on  the  Lord,  and  don’t  be  down- 
hearted — 

{With  a start  of  terror) 

A lion  that  growl’d  in  the  reeds  there  and  started  — 
(His  teeth  chattering) 

No,  it  was  n’t  a lion.  (Plucking  up  courage) 

A lion,  indeed ! 

These  beasts,  they  take  care  to  keep  out  of  disasters. 
They  know  it ’s  not  safe  to  fall  foul  of  their  masters. 
They  have  instinct;  they  feel,  and  it  goes  without 
saying 


SCENE  in] 


PEER  GYNT 


123 


With  elephants  it  is  but  dangerous  playing.  — 

But,  nevertheless,  what  I want  now  is  trees. 

Over  there  there ’s  a grove  of  acacias  and  palms ; 

If  I once  clomb  up,  I ’d  feel  more  at  my  ease  — 
Particularly  if  I knew  a few  psalms  — ( Clambers  up ) 
Morn  and  eve  are  not  similar.  That ’s  a text  which 
Has  often  enough  been  considered  and  sifted. 

(Seats  himself  comfortably) 

How  precious  to  feel  in  the  spirit  uplifted. 

To  think  nobly  is  more  than  to  know  oneself  rich. 
Only  trust  in  Plim.  What  from  the  cup  of  need 
I can  bear  to  drain  He  knows  to  a jot. 

For  my  personal  weal  He  takes  fatherly  heed  — 
(Casts  a glance  over  the  sea,  and  whispers  with  a 
sigh) 

But  economical  — no,  that  He ’s  not. 

SCENE  THREE 

Night.  A camp  of  Moors  on  the  edge  of  the  desert. 
Watch-fires  with  soldiers  resting. 

a slave  (enters  tearing  his  hair) 

Gone  is  the  Emperor’s  charger!  Grief! 
another  slave  (enters  rending  his  garments) 

The  Emperor’s  sacred  robes  are  stolen! 
an  officer  (enters) 

We  ’ll  thrash  until  his  feet  are  swollen 
The  man  who  fails  to  catch  the  thief ! 

[ The  soldiers  mount  their  horses  and  gallop  off  in  all 
directions. 


124 


PEER  GYNT 


[act  IV 


SCENE  FOUR 

Daybreak.  The  clump  of  acacias  and  palms. 

Peer  Gynt  in  his  tree  with  a broken  branch  in  his 
hand  is  keeping  off  a swarm  of  monkeys. 

PEER  GYNT 

Damn  it ! A most  disagreeable  night ! 

( Hits  around  him) 

Are  you  there  again  ? Damnation  and  curses ; 

Now  they  throw  fruit.  No ; it  something  far  worse  is, 
Of  all  beasts  your  monkey ’s  the  loathsomest,  quite ! 
’T  is  the  Scripture  that  says : Thou  shalt  watch  and 
wuestle. 

I ’m  too  sleepy  to  watch,  and  too  tired  to  fight. 

(Is  attacked  again;  impatiently) 

0 ! if  I don’t  stop  it,  this  damnable  pest  ’ll  — ! 

1 must  capture  a monkey,  some  villainous  fright, 

And  hang  him  and  flay  him  and  scramble  inside, 

As  well  as  I can,  the  brute’s  shaggy  hide ; 

They  ’ll  take  me  for  an  ape,  if  in  ape’s  skin  I nestle  — 
What  is  man  ? A mote.  And  the  world ’s  a bubble, 
And  to  follow  the  use  and  wont  saves  trouble.  — 
There ’s  the  rabble  again ! They  swarm  and  throng. 
Get  away ! Shoo ! They  behave  as  though  frantic. 

If  I had  a false  tail  now,  with  which  I could  antic  — 
Could  I turn  to  a beast  all  these  monkeys  among  — 
What ’s  that  ? There ’s  a pattering  over  my  head 
there  — ! 

( Looks  up) 

It ’s  the  old  one  — with  both  of  his  fists  full  of 
muck  — ! 

(Crouches  nervously  and  keeps  still  for  a while.  The 


SCENE  v] 


PEER  GYNT 


125 


monkey  moves:  Peer  Gynt  begins  to  coax  and  wheedle 
him , as  though  he  were  a dog ) 

Yes;  are  you  there  then,  good  old  Bus!  ’Gluck! 
He’s  a jolly  beast!  Yes!  He’ll  by  reason  be  led! 
There ! 

He ’d  never  throw  down,  no,  of  course  he  would  not  — 
It  is  me  ! Pip-pip  ! The  same  house  we  belong  to  ! 
Ai-ai ! Don’t  you  hear,  I can  speak  your  tongue  too  ? 
Bus  and  I,  why,  we  have  made  friends  on  the  spot ; 
Bus  shall  have  sugar  to-morrow  — ! You  animal! 
The  whole  lot  on  top  of  me ! Loathsome ! Is ’t 
credible  — 

The  taste  was,  well  — nondescript  — that  it  was 
edible  ? 

For  taste  is  a matter  of  habit,  that ’s  all. 

What  thinker  was  it  said  somewhere:  Spit 
And  trust  to  habit  to  conquer  it  ? — 

Here ’s  the  small  fry  too ! 

( Hits  and  slashes  about  him ) 

What  devils  they  are ! 
It  ’s  a shame  that  Man,  who ’s  the  Lord  of  Creation, 
Should  find  himself  forced  to  — Hell ! Damnation  ! 
The  old  one  was  bad,  but  the  young  are  worse  far! 

SCENE  FIVE 

Early  morning.  A stony  place  with  a view  out  over 
the  desert.  On  one  side  a cleft  in  the  hill  and  a cave. 

A Thief  and  a Receiver  in  the  cleft  with  the  Em- 
peror's horse  and  robes.  The  horse,  richly  caparisoned, 
is  standing  tied  to  a stone.  Horsemen  afar  off. 

THE  THIEF 

The  tongues  of  the  lances 


126 


PEER  GYNT 


[act  IV 


Flickering,  glittering  — 

See,  see ! 

THE  RECEIVER 

Already  my  limbs  are 
The  sand-plain  littering; 

Woe ’s  me ! 

the  thief  ( folds  his  arms  over  his  breast ) 

My  father,  he  thieved ; 

His  son  he  must  thieve,  too. 

THE  RECEIVER 

My  father  received; 

His  son  must  receive,  too. 

THE  THIEF 

Still  thy  weird  is  to  thee; 

Still  thyself  thou  shalt  be. 
the  receiver  ( listening ) 

Steps  in  the  brushwood ! 

Flee,  flee!  But  whither? 

THE  THIEF 

Deep  the  cave  is ; and  great 
The  Prophet!  Hither! 

[ They  flee  away  and  leave  the  booty  behind.  The 
Horsemen  disappear  in  the  distance. 
peer  gynt  ( enters , cutting  a reed-whistle ) 

What  a genial  morning  it  is  ! How  bland  ! — 

In  the  dust  with  his  ball  the  dung-beetle  is  creeping, 
Forth  from  his  dwelling  the  snail  is  peeping. 

The  morning ! She  comes  with  gold  in  each  hand.  — 
And  with  pow’r,  with  a wonderful  pow’r  she ’s  full, 
The  power  that ’s  the  daylight’s,  by  Nature’s  favor. 
One  feels  so  secure,  one  feels  so  much  braver, 

If  need  was,  one  would  cheerfully  close  with  a bull.  — 


SCENE  v] 


PEER  GYNT 


127 


What  a stillness ! The  country ! How  beautiful  it 
is ! — 

It ’s  a mystery  how  all  this  I ’ve  ignored ; 

Man  shuts  himself  up  in  the  hugest  of  cities 
Merely  to  live  with  a mob  and  be  bored.  — 

Just  look  how  the  lizards  are  frisking  around, 
Snapping  and  thinking  of  nought,  I ’ll  be  bound. 
The  life  of  the  beasts  is  with  innocence  rife ! 

Each  fulfils  its  Creator’s  commands,  unambiguous, 
Each  keeps  its  own  marks  plain,  however  exiguous, 

Is  itself,  itself  both  in  sport  and  in  strife, 

Itself,  as  when  first  He  granted  it  life. 

A toad.  In  the  midst  of  the  rock.  The  rough 
Stone  is  all  round  him.  His  head  only  peers  from  it. 
He  sits  framed,  as  in  a window,  and  leers  from  it 
At  the  world  and  is  to  himself  — enough  — 
(Reflectively) 

Enough?  To  himself?  Do  I know  whence  that 
phrase  is? 

I have  read  it,  in  some  so-called  classic,  in  youth. 

In  the  sermons?  In  Solomon’s  words  of  truth? 

Alas ! Year  by  year,  I notice,  the  case  is 
I ’m  losing  my  memory  for  dates  and  places. 

( Sits  down  in  the  shade) 

In  the  cool  one  can  rest  and  stretch  out  one’s  feet. 
Here  are  ferns  growing.  Roots,  too,  good  to  eat. 

( Eats  a little) 

For  an  animal,  sure,  this  food,  would  be  meeter  — 
But  the  text  says : “ Bridle  the  natural  creature ! ” 
And  ’t  is  written : the  pride  of  the  proud  shall 
tumble. 

And  exalted  he  ’ll  be,  who  makes  himself  humble. 

( Uneasily) 


128 


PEER  GYNT 


[act  tv 


Exalted?  Yes,  that  must  be  mj  lot,  it ’s  plain  — 
Anything  else ! The  idea ’s  inexpressible ! 

Fate  will  help  me  away  from  this  place  inaccessible, 
And  contrive  for  me,  so  I can  start  again. 

This  is  only  a trial ; deliverance  is  sure  — 

Pray  God  that  my  health  and  strength  endure. 

( Puts  his  thoughts  away,  lights  a cigar,  stretches 
himself  and  gazes  over  the  desert ) 

What  an  enormous  waste ! Without  limit ! — 

Far  off  an  ostrich  strides  over  the  sand.  — 

What  did  God  really  mean,  when  He  plann’d 
This  deadness,  this  voidness,  this  freak  of  earth’s 
forces? 

This  desert,  bereft  of  all  of  life’s  sources ; 

This  cinder,  no  profit  to  any?  How  grim  it 
Lies,  of  the  earth  the  one  patch  always  fallow ! 

This  corpse,  since  God  will’d  earth  from  nothing  to 
ravish, 

Has  n’t  deign’d,  ev’n  with  thanks,  His  name  to 
hallow. 

Why  was  it  created?  — Nature  is  lavish  — 

Is  that  sea,  in  the  east,  that  flickers  and  strikes 
My  vision!  No,  it’s  a mirage.  Now  I mind  me 
The  sea ’s  in  the  west : it  lies  piled  up  behind  me, 
From  the  desert  damm’d  out  by  a slanting  dyke. 

( A thought  flashes  through  him) 

Damm’d  out!  Then  I could  — ? For  the  dyke  is 
but  narrow. 

Damm’d  out?  A canal,  a mere  breach  in  the 
barrow  — 

Like  a river  of  life  then  the  waters  would 
Run  through  the  canal,  and  the  desert  flood ! 

Soon  would  yon  grave,  glowing-hot,  without  motion, 


SCENE  v] 


PEER  GYNT 


129 


Extend  as  a fresh  and  a rippling  ocean. 

The  oases  would  rise  in  the  midst,  like  islands ; 

Atlas  would  lift,  on  the  north,  his  green  load; 
Sailing-ships  w'ould,  like  birds  home  from  the  high- 
lands, 

Skim  to  the  south,  on  the  caravans’  road. 

The  vapors  would  vanish,  ’fore  life-giving  breezes, 
And  the  dews  from  the  clouds  would  be  quickly 
distill’d ; 

Town  after  town  would  the  people  build, 

And  the  grass  grow  green  where  the  shadow  of 
trees  is. 

Down  south,  the  Sahara’s  wall  behind, 

The  land  is  a coast  for  fresh  culture  designed. 

Steam  would  set  Timbuctoo’s  factories  spinning; 

We ’d  colonize  Bornu  in  famous  style ; 

And  through  Habes  the  explorer  his  way  would  be 
winning 

Safe  in  a train  to  the  Upper  Nile. 

Midst  of  my  sea,  on  a fat  oasis, 

I will  found  their  new  home,  the  Norwegian  race’s; 
Our  blood ’s  kin  to  that  in  a royal  breast, 

And  Arab  crossing  will  do  the  rest. 

By  a bay  there  will  rise,  on  a shelving  strand, 
Peeropolis,  my  capital  city. 

The  world  is  decrepit ! The  moment  is  fit : I 
Found  Gyntiana,  my  virgin  land;  ( gets  up) 

Had  I the  money  ’t  would  finisht  be. 

A key  of  gold  for  the  gate  of  sea ! 

A crusade  against  death ! He  shall  give  up  the  keys 
Of  that  chest,  where,  the  miser ! he  hoards  at  his 
ease. 

Men  in  every  land  are  for  liberty  raving  — 


130  PEER  GYNT  [act  iv 

Like  the  ass  in  the  ark  I will  send  forth  mj  cries 

Over  the  world,  and  to  Her  will  baptize 

The  beautiful,  thrall-bound  coasts  I am  saving. 

I must  forth ! To  find  money,  in  th’  east  or  the  west ! 
My  kingdom  — a half  in  the  east  or  the  west ! 

Half  — for  a horse  to  help  in  my  quest! 

( The  horse  in  the  cleft  neighs) 

A horse ! And  robes ! And  a sword ! And  fine 
trinkets ! 

( Goes  closer) 

It  can’t  be!  It  is  though  — ! What?  I’ve  heard 
tell, 

Or  read  somewhere,  that  Faith  can  move  — moun- 
tains — I think  it ’s 

But  what  about  moving  a horse  as  well  — ? 

Pooh ! It ’s  plain  fact ; here ’s  the  horse  to  go  on ; 

For  the  rest,  ab  esse  ad  posse,  and  so  on 

( Puts  on  the  robes,  and  looks  down  at  them) 

Sir  Peter  — a Turk  too,  from  top  to  toe ! 

Well,  men  never  can  tell  what  path  Fate  ’ll  show 
them  — 

Gee-up,  now  Grane,  let ’s  see  how  you  go ! 

( Leaps  into  the  saddle) 

Golden  stirrups  under  my  feet,  too ! O ! 

The  great,  by  their  riding-gear  men  know  them! 

( Gallops  off  into  the  desert) 

SCENE  SIX 

Tent  of  an  Arab  chief,  alone  in  an  oasis. 

Peer  Gynt  in  his  Eastern  dress,  resting  on  cushions. 
He  is  drinking  coffee,  and  smoking  a long  pipe.  Anitra 
and  a bevy  of  girls  dance  and  sing  before  him. 


SCENE  Vi] 


PEER  GYNT 


131 


CHORUS  OF  GIRLS 

The  Prophet  is  come ! 

The  Lord  Prophet,  all  things  unravelling. 

To  us,  to  us  is  he  come 
O’er  the  sand-ocean  travelling! 

The  Lord  Prophet,  in  nothing  e’er  failing, 

To  us,  to  us  is  he  come 
Through  the  sand-ocean  sailing ! 

Wake  the  flute  and  the  drum; 

The  Prophet,  the  Prophet  is  come! 

ANITRA 

White  as  milk  is  his  steed,  as  the  streaming 
Milk-rivers  in  Paradise  drunken. 

Be  bent,  ev’ry  knee ! Ev’ry  head,  be  sunken ! 

His  eyes  as  the  stars  are,  graciously  beaming. 

But  the  days  of  that  man  are  ended 

Who  dares  look  on  those  star-rays  so  splendid ! 

Through  the  desert  he  came. 

Gold  and  pearls  on  his  breast  sprang  and  glow’d. 

It  was  light  when  he  rode. 

Behind  was  darkness  and  gloom; 

And  drought  and  the  dread  simoom. 

He,  all-glorious,  came ! 

Through  the  desert  he  came ; 

Our  body  of  earth,  he  shared  it, 

Kaaba ’s  an  empty  name  — 

He  himself  has  declared  it ! 

CHORUS  OF  GIRLS 

Wake  the  flute  and  the  drum; 

The  Prophet,  the  Prophet  is  come! 

(The  girls  dance  to  soft  music ) 

PEER  GYNT 

I have  read  it  in  print  — and  the  saying ’s  sheer 
truth  — 


132  PEER  GYNT  [act  iv 

“ None’s  a prophet  at  home,  in  the  land  of  his 
youth.” 

It ’s  this  kind  of  life  I ’d  much  rather  follow, 

More  pleasant  than  Charlestown  shipping  I find  it. 
In  the  whole  of  that  life  there  was  something  hollow, 
Something  alien  at  bottom,  something  muddy  behind 
it  — 

I never  felt  really  one  of  that  crowd  there, 

My  real  self  was  always  under  a cloud  there. 

What  possest  me  to  enter  that  galley  at  all? 

To  grub  as  a trader  — ! I can’t  comprehend  it. 
When  I think  it  all  over,  I meet  a blank  wall. 

It  happened  so ; that  answer  must  end  it.  — 

To  be  yourself  on  a basis  of  gold, 

Is  to  build  your  house  on  a sand-foundation. 

For  watch  and  ring  and  such  signs  of  station 
The  good  people  fawn  on  you,  crawl  in  the  mud ; 
They  lift  their  hats  to  your  jewell’d  stud; 

But  ring,  stud,  are  not  your  person,  I hold  — 

A Prophet ; that ’s  a clear  role  to  be  filling. 

You  know  where  you  stand.  If  you  make  a success, 
The  ovation  is  yours ; it ’s  yourself  the}’  bless ; 
Yourself,  nor  your  every  pound-sterling  and  shilling. 
Without  any  doubt  then,  one  is  what  one  is, 

One  owes  nothing  to  Fortune’s  subsidies 
Nor  need  lean  upon  patents  and  licences  — 

A Prophet ; yes  that ’s  the  position  for  me. 

And  the  thing  was  so  utterly  unexpected.  — 

These  children  of  nature  I met  unprotected 
As  over  the  desert  I rode  from  the  sea. 

The  Prophet  was  come ; so  the  sure  news  flies. 

I had  n’t  the  slightest  desire  to  deceive  them  — ; 
There ’s  a difference  ’twixt  lies  and  prophetic  replies ; 


SCENE  Vi] 


PEER  GYNT 


133 


And  I can  always  turn  back  and  leave  them. 

I ’m  not  at  all  bound ; the  thing ’s  plain,  of  course  — 
It ’s  all  private,  to  speak  without  reservation ; 

I can  go,  as  I came ; I have  got  my  horse ; 

I ’m  master,  in  short,  of  the  situation. 
anitra  ( approaching  the  entrance ) 

Prophet  and  Master ! 

PEER  GYNT 

What  would  my  slave  of  me? 

ANITRA 

The  sons  of  the  plain  at  thy  tent-door  are  near; 
They  pray  for  the  light  of  thy  countenance  — 

PEER  GYNT 

Stay ! 

Say  to  them,  “ Stand  a long  distance  away ; ” 

Say,  at  a distance  their  prayers  I will  hear. 

Add,  in  here  I ’ll  have  no  men  to  crave  boons  of  me ! 
Menfolk,  my  child,  are  a rotten  race  — 

Absolute  muck  indeed  are  they ! 

Anitra,  you  can’t  think,  the  shameless  face 

With  which  they  have  swin’d  — have  sinn’d,  I say ! — 

Well,  enough  of  that ! Girls,  you  may  dance  for  my 

i°y! 

The  Prophet  would  banish  the  thoughts  that  annoy. 
the  girls  ( dancing ) 

The  Prophet  is  good;  the  Prophet  is  grieving 
For  the  sons  of  the  dust,  their  ill  deeds  and  deceiving! 
The  Prophet  is  mild ; to  his  mildness  he  praises ; 

To  sinners  the  gates  of  his  heaven  he  upraises ! 
peer  gynt  (his  eyes  following  Anitra  during  the  dance ) 
Legs  that  as  swift  as  drumsticks  can  flit. 

Yes,  that  damsel,  she  is  a dainty  bit. 

True  she  has  a somewhat  extravagant  figure  — 


134  PEER  GYNT  [act  iv 

It  don’t  follow  the  laws  of  beauty  with  rigor; 

But  what  is  beauty?  Convention  merely; 

A coin,  which  with  changes  of  place  can  clearly 
Its  worth  change.  That  man  for  extremes  is  eager, 
Who ’s  contrived  from  the  normal  its  utmost  to  cap- 
ture ; 

In  the  strictly  correct  one  misses  all  rapture. 

Either  plump  to  excess  or  excessively  meagre, 
Distressingly  young,  or  appallingly  old : 

With  those  in  between  are  mawkish  or  bold.  — 

’T  is  not  by  their  cleanliness  her  feet  invite  one ; 

Nor  do  her  arms ; in  especial  the  right  one. 

But  that  is,  at  bottom,  no  derogation. 

I should  sooner  call  it  a qualification  — 

Anitra,  hearken ! 
anitra  ( approaching ) 

Thy  slave  bends  her  ear. 

PEER  GYNT 

You  ’re  alluring,  my  child.  And  moved  is  the 
Prophet. 

If  you  do  not  believe  me,  then  hearken  and  hear ! 

I ’ll  make  you  a Houri ! There ’s  the  proof  of  it. 

ANITRA 

It ’s  not  possible,  Lord ! 

PEER  GYNT 

What?  You  think  it ’s  a jest? 
On  my  life,  I am  serious,  quite,  I protest ! 

ANITRA 

But  I ’ve  not  got  a soul. ' 

PEER  GYNT 

Well,  one  must  be  found  for  you. 

ANITRA 

How,  Lord? 


SCENE  Vi] 


PEER  GYNT 


135 


PEEK-  GYNT 

Just  trust  to  me,  I will  be  bound  for 
you  — 

I ’ll  see  you  a sound  education  get. 

No  soul!  Well  truly  you  are  rather  stolid, 

As  they  say,  I have  noticed  the  same  with  regret. 
There  ’ll  be  space  for  a soul  though,  it ’s  not  like  a 
solid. 

Come  here ! Where ’s  your  brain-pan,  let ’s  feel  the 
size  of  it. 

There  is  room,  there  is  room ; I ’d  have  wagered  my 
eyes  of  it. 

True  enough  — you  will  never  be  able  to  dig 
Very  deeply  — your  soul,  I ’m  afraid,  won’t  be 
big  — 

But,  take  heart;  it  really  will  be  just  the  same  to 
you  — 

It  will  be  large  enough  not  to  bring  any  shame  to 
you  — 

ANITRA 

The  Prophet  is  good 

PEER  GYNT 

Don’t  hesitate,  girl! 

ANITRA 

But  I ’d  rather 

PEER  GYNT 

Come,  out  with  it ! Tell  me  the  whole 

ANITRA 

Well,  I don’t  care  so  much  about  having  a soul  — 
Give  me  rather 


PEER  GYNT 


Yes,  what? 


136 


PEER  GYNT 


[act  IV 


anitka  ( pointing  to  his  Turban ) 

That  beautiful  pearl! 

peee  gynt  ( enraptured , handing  her  the  jewel) 

Anitra ! True  daughter  of  Eve ! How  you  show  it ! 
As  a magnet,  you  draw  me;  for  I am  a man, 

And  as  it  was  put  by  a much  esteem’d  poet : 

“ Das  ewig  Weibliche  ziehet  uns  an ! ” 

SCENE  SEVEN 

A moonlit  night.  A palm-grove  outside  Anitra’ s tent. 
Peer  Gynt , with  an  Arabian  lute  in  his  hands,  sits 
under  a tree.  His  beard  and  hair  are  clipped;  he  looks 
much  younger. 

peer  gynt  ( plays  and  sings) 

I lockt,  I lockt  my  Paradise 
And  took  the  key  with  me. 

’Fore  the  north  wind  my  good  ship  flies! 

Hark  to  the  lovely  women’s  cries, 

Forlorn  beside  the  sea! 

Still  south,  my  stout  keel  clove  her  way 
And  would  the  waves  outstrip. 

Where  palm-trees,  proud  and  lofty  sway, 

A wreath  around  the  ocean-bay, 

I burnt  my  sturdy  ship. 

I came  aboard  the  desert’s  ship, 

The  ship  on  four  legs  staunch. 

It  foam’d  beneath  the  lashing  whip  — 

O ! catch  me  ! I ’m  a bird  — I skip 
And  twitter  on  a branch! 


SCENE  vn] 


PEER  GYNT 


137 


Anitra,  sap  of  sweetest  trees 
Thou  art,  I know  it  now ! 

Ay,  ev’n  Angora  goat-milk  cheese 
My  taste  does  not  so  choicely  please, 

Anitra,  ah ! as  thou ! 

( He  hangs  the  lute  over  his  shoulder  and  comes 
nearer ) 

Stillness!  Did  the  fair  one  hearken? 

Has  she  heard  my  little  lay? 

Peeps  she  from  where  curtains  darken, 

Veil  and  so  forth  flung  away? 

Hush ! a noise,  as  wine  that ’s  pouring 
When  the  cork  bursts  out  amain ! 

Now  again!  And  yet  again! 

Sighs  or  songs  of  love’s  sweet  pain?  — 

No:  it  is  my  darling  snoring  — 

Sweetest  strain ! Anitra ’s  sleeping ! 

Nightingale,  now  cease  thy  cry! 

Not  a woe  shall  pass  thee  by 

If  thou  darest  with  songs  of  weeping  — • 

As  the  text  says,  “ Presently ! ” 

Nightingale,  thou’rt  always  singing; 

Ah ! and  even  so  am  I. 

Thou,  as  I,  to  love  art  bringing 
Tender  little  hearts  that  sigh. 

Balmy  night  for  song  wTas  fashion’d; 

And  in  song  one  sphere  we  share; 

We  are  We,  in  song  empassion’d, 

We,  the  nightingale  and  Peer. 

And  the  slumber  of  the  maiden 
Crowns  my  heart  with  gladness  laden  — 

This,  to  have  my  loving  lip 
O’er  the  cup  — yet  not  a sip  — ! 


138 


PEER  GYNT 


[act  IV 


But  what ’s  that,  I wonder?  Lo! 

She  is  coming!  Better  so. 
anitra  ( from  the  tent ) 

Master,  in  the  night  art  calling? 

PEER  GYNT 

Yes,  Anitra,  it  was  I. 

I was  waken’d  by  the  squalling 
Of  the  cat,  whose  hunting-cry 

ANITRA 

No;  no  hunting  made  thee  waken. 
Something  worse  thy  sleep  hath  shaken. 

PEER  GYNT 

What  then? 

ANITRA 

Spare  me! 


PEER  GYNT 


Speak,  my  girl ! 


ANITRA 

O I blush  to  

peer  gynt  ( nearer ) 

Was  it,  tell  me, 
That  which  suddenly  befell  me, 

When  I gave  to  you  the  pearl? 
anitra  ( horrified ) 

Liken  thee,  earth’s  prize,  to  that 
Horrible,  disgusting  cat ! 

PEER  GYNT 

From  the  standpoint,  child,  of  passion 
Cat  and  prophet,  in  a fashion, 

Are  n’t  at  all  dissimilar. 

ANITRA 

Master,  how  the  jests  are  flowing 
From  thy  lips. 


SCENE  Vil] 


PEER  GYNT 


139 


PEER  GYNT 

My  child,  you  ’re  far 
Too  like  others,  who  ’re  for  knowing 
From  the  outside  what  men  are. 

I am  full  of  jests  at  heart, 

Jests  like  this,  especially. 

My  position  thrusts  a part, 

On  me,  of  solemnity; 

I have  duties  prejudicial, 

Worry  never  leaves  me  free, 

Just  to  plague  me  all  agree, 

So  I ’m  harsh  as  harsh  can  be 
Sometimes  ; yet  ’t  is  superficial.  — 

Pouf!  Avaunt.  In  téte-å-téte  I 
Am  Peer  — well,  I ’m  he,  you  see. 

To  the  prophet  show  the  gate!  I 
Am  myself,  here  you  have  me ! 

(Sits  under  a tree  and  draws  her  to  him ) 
Come,  Anitra!  See,  beguiling 
Us  to  rest,  the  palm  tree’s  shade! 

I ’ll  be  whisp’ring,  you  ’ll  be  smiling; 

An  exchange,  then,  shall  be  made; 

You  shall  whisper  love,  the  while 
At  your  lips  I gaze  and  smile ! 
anitra  (lies  down  at  his  feet ) 

All  thy  words  are  sweet  as  singing, 
Though  I understand  but  little. 

If  I listen,  Master,  it  ’ll 
Unto  me  a soul  be  bringing? 

PEER  GYNT 

Soul,  and  spirit’s  light,  and  learning 
Soon  in  you  you  ’ll  be  discerning. 

When  in  East,  each  rosy-finger 


140 


PEER  GYNT 


[act  IV 


Prints  in  gold  type  — Day  is  here  — 

Then  at  play  we  will  not  linger. 

You  shall  have  my  lessons,  dear. 

But  ’mid  night’s  delicious  quiet 
I were  stupid,  did  I try  at 
Practising  my  pedagogic 
With  my  tatter’d  bit  of  logic. 

And  the  soul,  of  all  that ’s  sent  us, 

Is  not  chief.  As  says  a singer, 

’T  is  the  heart  that ’s  most  momentous. 

ANITEA 

Speak,  O Master!  As  I listen 
Pearls  across  my  vision  glisten ! 

PEER  GYNT 

Folly ’t  is  to  be  too  clever ; 

Cowardice  in  cruelty  ever 

Ends,  and  too  much  truth,  turn’d  scurvy, 

Is  but  wisdom  topsy-turvy. 

Yes,  my  child  — or  I ’m  a liar. 

Aye,  a hound,  if  there  are  not 
O’er-fed  souls  who  ’ll  get  no  nigher 
To  clear  sight  than  they  have  got. 

There  was  such  a man  — I knew  him  — 

Not  another  equal  to  him; 

He  mistook  his  goal  and  calling, 

Losing  sense  in  blatant  bawling.  — 

See  the  waste  round  this  oasis? 

Were  I but  to  swing  my  turban, 

Floods  would  rush  that  naught  could  curb,  an 
Ocean  to  the  farthest  places ! 

But  I should  a blockhead  be 
Thus  creating  land  and  sea. 

Know  you,  what  it  is  to  live? 


SCENE  VII ] 


PEER  GYNT 


141 


ANITKA 

Teach  me ! 

PEER  GYNT 

’T  is  yourself  to  give 
To  be  wafted  down  time’s  river 
As  yourself  — self  nought  can  shiver. 

In  manhood  alone  I can 

Be  what  I am,  dear  child,  this  man ! 

The  old  eagle  moults  his  plumage, 

Th’  old  man  totters  to  his  rheumage, 

Joan ’s  not  got  a tooth  to  bite  with, 

Darby,  wither’d  hands  can’t  fight  with  — 

One  and  all  get  wither’d  souls. 

Youth!  Youth!  Where ’s  my  kingdom?  Mine! 
I ’ll  be  Sultan,  sole,  supreme  — 

Not  where  Gyntiana  rolls 
Rivers  under  palm  and  vine  — 

But  firm  based  upon  the  fine 
Freshness  of  a woman’s  dream.  — 

See  you  now,  my  maiden  pretty, 

Why  I ’ve  lured  you,  here ’s  the  token, 

Why  to  you  my  heart  has  spoken, 

Why  I ’ve  builded  my  soul’s  city 
There,  my  being ’s  Caliphat. 

Mine ! and  mine  alone  I call  you. 

For  in  love  I ’m  autocrat ! 

Mine  your  every  pang  and  bliss  is. 

I am  he,  who  shall  enthral  you, 

As  fine  gold  a jewel  kisses. 

Part  we,  you  and  I ? All ’s  over  — - 
Here  on  you  the  emphasis  is ! 

All  which  veil  and  garments  cover, 

Will-less,  without  yes  or  no, 


142 


PEER  GYNT 


[act  IV 


Full  of  me,  all  I must  know. 

Midnight  beauty  of  your  tresses, 

All  of  charm  the  fancy  guesses, 

Like  the  Babylonian  garden, 

Shall  allure  your  body’s  warden. 

Therefore  I do  not  regret 
That  your  head ’s  a habitation 
Empty ; with  a soul,  men  get 
Lost,  quite,  in  self-contemplation. 

While  we  ’re  talking,  hark,  my  doxy, 

You  shall,  if  you  like,  you  know, 

Have  a ring,  that  I can  lock  — see?  — 

Round  your  ankle;  safer  so; 

I will  be  your  soul  by  proxy. 

For  the  rest  — why,  status  quo. 

( Anitra  snores ) 

What?  She  sleeps!  Then  did  it  flow 
Useless  past  her,  all  I ’ve  spoken? 

No!  ’t  is  of  my  pow’r  a token 
That  away  she ’s  carried,  dreaming, 

On  my  tales  of  passion  streaming. 

( Rises  and  lays  trinkets  in  her  lap ) 

There  are  jewels  for  you!  There! 

Sleep,  Anitra ! Dream  of  Peer.  . . . 

Sleep!  For  this  your  sleeping  places 
On  your  Emperor’s  brow  the  crown! 

Yict’ry  on  his  Person’s  basis. 

Now  Peer  Gynt  has  made  his  own. 

SCENE  EIGHT 

A caravan  route.  The  oasis  lies  far  off  in  the  back- 
ground. 


SCENE  Vill] 


PEER  GYNT 


143 


Peer  Gynt,  on  his  white  horse,  gallops  over  the  desert. 
He  has  Anitra  in  front  on  his  saddle-bow. 

ANITRA 

Let  be!  I’ll  bite! 

PEER  GYNT 

You  rascal!  You  love! 

ANITRA 

What  would  you? 

PEER  GYNT 

Would?  Play  at  the  hawk  and 
the  dove! 

Carry  you  off!  Frisk  about  a bit,  frantic! 

ANITRA 

For  shame ! An  elderly  prophet ! 

PEER  GYNT 

Rot ! 

The  prophet ’s  not  elderly,  silly ! A lot 
Of  old  age  it  betokens,  this  kind  of  antic ! 

ANITRA 

Let  me  go ! I ’ll  go  home ! 

PEER  GYNT 

Would  you,  coquette? 

Home!  To  papa-in-law!  How ’d  you  be  met? 

We  madcap  brides,  that  have  taken  our  flight, 

Must  never  again  come  within  his  sight. 

Besides,  child,  no  wise  man  shows  his  face, 

Believe  me,  too  long  in  the  self-same  place; 

Men  think  far  less  of,  when  they  know  more  about 
you  — 

As  for  prophets  — well,  quickly  flags  their  panegyric. 
One  should  be  but  a moment  of  joy,  like  a lyric. 

It  was  time  that  I left.  Even  these  things  without, 
you 


144 


PEER  GYNT 


[act  IV 


Know,  that  these  sons  of  the  desert  are  fickle  — 

At  the  last  prayers  were  few,  and  the  incense  a trickle. 

ANITEA 

Yes,  but  are  you  a prophet? 

PEEK  GYNT 

I am  your  King! 

( Tries  to  kiss  her) 

Tut!  my  woodpecker!  Is  n’t  she  quick  on  the  wing? 

ANITEA 

Give  me  that  ring  that  you  have  on  your  finger. 

PEEE  GYNT 

Take  all  the  trash,  my  Anitra,  take  all! 

ANITEA 

Like  sweet  songs  your  words  on  the  memory  linger. 

PEEE  GYNT 

To  inspire  such  a passion,  this  true  bliss  I call! 

I ’ll  dismount ! Like  a slave,  I will  stand  at  your 
bridle ! 

( Hands  her  his  riding-whip  and  gets  off) 

There  now ! My  blossom,  my  rose  of  all  roses ; 

I will  tramp  through  the  sand ! Even  I,  at  your 
side,  ’ll 

Trudge  till  a sunstroke  my  passion  forecloses. 

I am  young,  Anitra ! And  please  don’t  forget  it. 
Don’t  be  shocked  at  the  way  I would  frolic  and  pet  it. 
Jests  and  high-jinks  are  youth’s  only  criterion! 

So  you ’d  see,  were  you  quicker  to  grasp  at  the  truth, 
That  a lover  who ’s  bent  (don’t,  my  poppet,  be 
dreary)  on 

High-jinks  and  jests  is,  ergo,  a youth! 

ANITEA 

Yes,  you  ’re  a youth ! Have  }Tou  yet  got  a ring  or 
two? 


SCENE  Vill] 


PEER  GYNT 


145 


PEEK  GYNT 

Ain’t  I?  There!  Grab!  Like  a buck’s,  there’s  a 
fling  or  two ! 

Were  there  vine-leaves  about,  I would  make  me  a 
crown. 

To  be  sure  I am  young ! I will  dance ! Derry-down ! 
( Dances  and  sings ) 

I am  the  happiest  game-cock! 

Peck  me,  my  little  pullet ! 

Ha!  Let  me  trip  and  fool  it; 

I am  the  happiest  game-cock! 

ANITRA 

You  are  sweating,  my  prophet,  I fear  you  may 
melt ; 

Give  me  that  heavy  bag  hung  at  your  belt. 

PEER  GYNT 

Tender  solicitude!  Bear  the  purse  ever  — 

The  lover  from  gold  can  contentedly  sever. 

( Dances  and  sings  again ) 

Young  Peer  Gynt  is  a madcap ! 

Does  n’t  know  which  foot  to  stand  upon  ! 

Pooh,  says  Peer  — pooh,  pooh,  go  on! 

Young  Peer  Gynt  is  a madcap.  # 

ANITRA 

What  j oy  to  see  you  in  the  dance,  O my  Prophet ! 

PEER  GYNT 

A truce  to  the  Prophet ! — we ’ve  had  enough  of  it ! 
Let ’s  change  clothes  ! 

ANITRA 

Your  caftan ’s  too  long,  and  the  smocking’s 
Of  your  girdle  too  wide,  and  too  tight  are  your 
stockings 


146 


PEER  GYXT 


[act  IV 


PEEK,  GYXT 

Eli  bien!  ( Kneels ) 

But  vouchsafe  me  a vehement  sorrow, 

To  the  heart  of  a lover  is  suffering  sweet! 

Listen  ! We  ’ll  get  to  my  tow’r — not  to-morrow 

AXITEA 

Your  paradise  — must  we  ride  far  ere  we  greet ? 

PEEE  GYXT 

0 ! a thousand  miles  or 

AXITEA 

Too  far! 

PEEE  GYXT 

0 ! hear ! 

You  shall  have  the  soul  that  I promised  you, 
dear 

AXITEA 

Oh,  thank  you ! I ’ll  get  on  without  the  soul,  I. 

But  you  asked  for  a sorrow 

PEEE  GYXT 

Yes,  curse  me ; one,  say,  or  two ! 
One  short,  sharp  sorrow  — to  last  but  a day  or  two ! 

AXITEA 

Anitra  obeyeth  the  Prophet ! — Good-bye ! 

(She  Cuts  him  sharply  across  the  -fingers , and  dashes 
off  at  a tremendous  gallop  bach  across  the  desert) 
PEEE  gyxt  ( stands  for  a long  time  thunder  struck) 
Well,  now  may  I be ! 

SCENE  NINE 

The  same  place.  An  hour  later. 

Peer  Gynt,  sedate  and  thoughtful,  is  stripping  off  his 
Turkish  clothes  bit  by  bit.  Last  of  all  he  takes  his  little 


SCENE  IX] 


PEER  GYNT 


147 


travelling  cap  from  his  coat-pocket,  puts  it  on,  and 
stands  once  more  in  European  dress. 
peer  gynt  (j vhen  he  has  thrown  the  turban  far  away 
from  him ) 

There  lies  the  Turk,  then,  and  I stand  here ! 

These  heathenish  games  are  no  good,  I ’m  clear ; 
That  the  whole  thing  was  only  a question  of  dressing 
Not  bred  in  the  bone,  as  they  say,  is  a blessing.  — 
What  induced  me  to  enter  that  galley?  Adhere 
To  the  life  of  a Christian  ! Yes  ! that  sound  advice  is  ; 
Don’t  copy  the  peacock;  remember  morality; 

Keep,  in  all  of  your  actions,  this  side  of  legality ; 

Be  yourself,  and  so  earn,  at  the  ultimate  crisis, 

A speech  by  your  grave,  on  your  tomb  chaste  devices. 
(Walks  a few  steps ) 

The  hussy  — that  girl  came  most  horribly  close 
To  turning  my  head  and  completely  upsetting  me; 
I ’m  a troll  if  I know  what  managed  to  glose 
And  bewilder  me,  thus  in  a quandary  getting  me. 
Well,  it ’s  good  that  it ’s  done!  ’T  was  a jest  most 
periculous ; 

And  if  carried  on  would  have  made  me  ridiculous. 

I have  err’d.  Ah,  yes  — but  I ’ve  this  consolation, 
That  my  error  was  due  to  the  false  situation. 

’T  was  not  I,  in  my  actual  person,  that  fell, 

It  was  really  that  way  of  living  prophetical ; 

It  so  lackt  the  true  salt  of  action  that  — well  — 

It  took  its  revenge  in  bad  taste  emetical. 

To  be  “ Prophet  ” ’s  a monstrous  poor  thing,  on  the 
whole ! 

By  your  very  profession  you  walk  in  a mist ; 

In  prophetical  play  the  opponent  cries  “ vole  ” 

The  moment  from  folly  and  dreams  you  desist. 


148 


PEER  GYNT 


[act  IV 


I ’ve  been  equal,  so  far,  to  the  situation 
Merely  by  my  giving  that  goose  education. 

But,  nevertheless ( Bursts  out  laughing) 

H’m!  Just  think  of  it ! Me! 
To  try  to  stop  time  by  tripping  and  dancing! 

And  to  fight  with  the  flood  by  frolic  and  prancing! 
To  strum  on  the  lute-strings,  to  cuddle  and  blether, 
And  to  end  like  a game-cock  — be  pluckt,  every 
feather. 

That  was  frenzy  prophetical,  verily. 

Yes,  pluckt ! Yes,  my  Lord,  I ’m  nigh  pluckt  to  the 
skin ; 

Well,  I ’ve  still  got  a trifling  reserve  to  call  in ; 

I ’ve  got  some  in  America,  some  in  my  pocket, 

So  I need  n’t  ask  yet  for  the  poor-house ’s  docket. 
And  this  middle  condition  is  best,  after  all. 

I ’m  not  tied  to  my  coachman  or  horse ; I don’t  bawl 
For  my  buggy  or  baggage,  in  troubled  vexation; 

I am  master,  in  short,  of  the  situation.  — 

What  path  shall  I choose,  with  so  many?  The  wise  is 
Known  from  the  fool  by  his  choice  at  a crisis. 
Business?  No,  that  is  a leaf  quite  turn’d  over; 

And  a cast-off  coat  is  my  life  as  a lover. 

To  go  backwards,  crab-like,  I ’ve  got  no  ambition. 

“ Backwards  or  forwards,  ’t  is  just  as  long; 

In  or  out,  and  it ’s  strait  as  strong,” 

So  I ’ve  read  in  a book  of  serenic  erudition. 

I ’ll  find  something  new ; ennoble  my  life ; 

Find  a goal  that  is  worth  the  money  and  strife. 

Shall  I write  out  my  life  without  dissimulation  — 

A book  for  men’s  guidance  and  imitation?  — 

Or,  stay ! — since  I ’ve  got  the  leisured  capacity, 
Shall  I study  past  ages  with  interest  rife, 


SCENE  ix] 


PEER  GYNT 


149 


As  a travelling  scholar  watch  time’s  voracity? 

Yes,  to  be  sure;  that  is  my  occupation! 

Why,  to  legends,  when  I was  a boy,  I ’d  be  turning, 
And  since  then  I have  n’t  dropt  that  side  of  learn- 
ing.— 

I will  follow  the  road  of  each  several  nation ! 

I will  float  like  a feather  on  history’s  stream, 

Make  it  alive  again,  as  in  a dream  — 

See  the  heroes  struggle  for  truth  and  right  — 

As  an  onlooker,  out  of  the  danger  quite  — 

See  the  martyrs  bleed  and  the  thinkers  die, 

See  empires  founded  and  empires  fall, 

See  world-epochs  grow  from  seedlings  small; 

I will  skim  the  cream  of  history ! I ! — 

I must  try  and  get  hold  of  some  ancient  horology, 
And  travel,  as  far  as  I can,  by  chronology.  — 

Of  course  — I have  not  very  sound  foundations, 
And  “ true  ” history  deceives  one  and  tries  the 
patience ! — 

But  then  ! your  starting-point’s  random  — poor  ! 
The  result  is  original  so,  and  new.  — 

To  have  such  a goal!  How  uplifted  I feel! 

And  to  go  straight  for  it,  like  flint  and  steel ! 

( With  quiet  emotion) 

To  break  off  all  round,  to  put  all  behind  one, 

The  bonds  that  to  friends  and  hearth-stone  bind 
one  — 

One’s  hoarded  wealth  to  blow  up  sky-high  — 

To  love  and  its  lures  to  say  “ Good-bye  ” — 

Only  to  get  a view  into  Truth’s  mystery  — 
(Wiping  a tear  from  his  eye) 

That ’s  the  test  of  the  genuine  student  of  history ! — 
I feel  happier  than  I e’er  thought  I could  be. 


150 


PEER  GYNT 


[act  IV 


Now  I have  found  my  destiny’s  key. 

Now  I ’ve  only  to  hold  on  through  thick  and  thin. 

It ’s  excusable  now  if,  in  pride,  I soar, 

And  know  me,  the  man,  Peer  Gynt,  within, 

Also  call’d  Human-life’s  Emperor.  — 

The  past  shall  be  own’d,  every  minute  and  sod,  by  me ; 
The  paths  of  the  living  shall  no  more  be  trod  by 
me  — 

’T  is  worth  just  the  price  of  a shoe-sole,  to-day  is; 
There  is  no  faith  in  man,  and  futile  his  way  is ; 

His  soul  has  no  wings,  and  for  strength  he ’s  no 
place  — 

( Shrugs  his  shoulders ) 

And  women  — ah ! they  are  a rotten  race ! 

( Goes  off) 

SCENE  TEN 

A summer  day.  Far  up  in  the  North.  A hut  in  the 
wood.  A door,  with  a large  wooden  bar,  stands  open. 
Reindeer-horns  over  the  door.  A herd  of  goats  by  the 
wall  of  the  hut. 

A Middle-aged  Woman,  fair  and  comely,  sits  and 
spins  outside  m the  sunshine. 

the  woman  ( glances  down  the  path  and  sings) 

The  winter  may  pass,  and  the  spring  may  go  by, 
And  next  summer  too,  yes,  the  whole  year  may  fly  — 
But  one  day  you  will  come,  that  I know,  that  I know ; 
I will  wait,  for  at  parting  I promised  you  so. 

( Calls  the  goats,  spins,  and  sings  again ) 

God  give  you  strength,  wheresoever  you  roam ! 

God  give  you  joy,  if  in  heav’n  you ’ve  come  home! 
Here  I will  wait,  till  you  come  again,  love ; 

If  you  wait  at  His  footstool,  we  ’ll  meet  there,  above ! 


SCENE  Xl] 


PEER  GYNT 


151 


SCENE  ELEVEN 

In  Egypt.  Daybreak.  Memnon’s  statue  stands  amid 
the  sand. 

Peer  Gynt  enters  on  foot  and  looks  around  him  for  a 
while. 

PEER  GYNT 

This  would  be  a good  start  from  which  I might 
range.  — 

I ’ve  become  an  Egyptian,  now,  for  a change ; 

That  is,  on  the  Gyntish  Ego’s  basis. 

Next  to  Assyria  I will  make  traces. 

To  begin  right  back  at  the  world’s  creation, 

Would  simply  mean  trouble  and  extra  vexation  — 
Round  about  all  Bible-history  I ’ll  wander, 

And  find  secular  signs  of  it  whereon  to  ponder. 

To  peer,  as  the  proverb  says,  into  the  crannies, 
Completely  outside  both  my  power  and  my  plan  is. 
(Sits  on  a stone) 

Here  will  I sit  and  await  the  habitual 
Song  of  the  statue,  the  old  dawn-ritual. 

After  breakfast,  the  Pyramid  I will  climb ; 

And  look  inside  too,  if  I ’ve  got  the  time. 

Then  I ’ll  go  where  the  Red  Sea  stretches  far, 

And  perhaps  find  the  grave  of  King  Potiphar.  — 
Then  I ’ll  turn  Asiatic.  Seek  Babylon, 

The  harlots  and  gardens,  the  world’s  admiration, 
That ’s  to  say,  the  chief  traces  of  civilization. 

Then  at  once  to  the  walls  of  Troy  I ’ll  go  on. 

Then  from  Troy  there ’s  a fairway  across  the  sea 
To  where  Athens  stands  in  her  ancient  glory; 

Then  I ’ll  see  the  pass,  and  recount  the  story 
How  Leonidas  held  off  the  enemy; 


152 


PEER  GYNT 


[act  IV 


I will  read  up  the  best  sort  of  metaphysician, 

Find  where  Socrates  suffer’d,  that  place  of  perdi- 
tion ; 

Tut  — by  the  bye  — there ’s  a war  on  at  present ! — 
I must  put  off  Greece  till  affairs  are  more  pleasant. 

( Looks  at  his  watch) 

It ’s  really  too  bad,  how  slow  at  its  rising 

The  sun  is.  I ’ve  not  got  much  time.  Well,  then, 

I will  go  on  from  Troy  — it  was  there  I was  when  — 
( Rises  and  listens ) 

What  is  it,  that  rushing  of  song,  most  surpris- 
ing   ? 

[Sunrise. 

memnon’s  statue  (sings) 

From  the  demigod’s  ashes, 

In  fresh  youth  are  winging 
Birds  ever  singing. 

Zeus  who  knows  all 
Form’d  them  to  brawl. 

Owls  of  Athene, 

In  your  sleep  who  has  seen  ye? 

Read  the  riddle,  or  thou 
Must  die  now ! 

PEER  GYNT 

Passing  strange.  I could  really  have  thought  there 
was  cast 

From  the  statue  a sound.  Music,  that  of  the 
Past. 

I could  hear  well  the  notes  of  the  stone,  rising, 
sinking.  — 

I will  write  it,  to  give  food  for  thought  to  the 
thinking. 

(Notes  in  his  pocket-book) 


SCENE  XII ] 


PEER  GYNT 


153 


“ The  statue  did  sing.  ’T  was  the  sound  that  I heard 
of  it, 

For  the  rest,  I could  n’t  make  out  ev’ry  word  of  it. 
’T  was  illusion,  the  whole  thing,  I need  hardly  say.  — 
Nothing  else  of  importance  observed  to-day.” 

( Goes  away ) 


SCENE  TWELVE 

Near  the  village  of  Gizeh.  The  great  Sphinx  carved 
out  of  the  rock.  A long  way  off  the  spires  and  minarets 
of  Cairo. 

Peer  Gynt  enters ; he  examines  the  Sphinx  atten- 
tively, now  through  his  eye-glass,  now  through  his  hol- 
lowed hand. 

PEEK  GYNT 

Where  met  I something  (I  half  forget  it), 

You  curious  old  hobgoblin,  like  you? 

For,  in  the  north  or  the  south,  I have  met  it. 

Was  it  a person?  And,  if  so,  who? 

That  Memnon,  the  fancy  afterwards  came  to  me, 
Was  like  the  Old  Man  of  the  Dovre,  so  call’d: 

As  he  sat  stiff  and  stark,  he  seem’d  the  same  to  me, 
On  his  end,  and  by  broken  pillars  wall’d. 

But  this  most  amazing  of  mongrel  creatures, 

This  changeling,  this  lion  with  woman’s  features  — 
Does  it  too  come  from  a fairy-tale? 

Or  from  something  real,  something  I fail  — 

From  a fairy-tale  ? Why  — I was  sure  I knew  him  ! 
It ’s  the  Boyg,  whom  I smote  on  the  skull ; I nigh 
slew  him  — 

That  is,  I dreamt  I did  — I had  a fever.  — 

( Goes  nearer ) 


154  PEER  GYNT  [act  iv 

The  eyes  just  the  same,  lips  the  same  as  ever  — 

Not  quite  so  sluggish;  a bit  more  alluring; 

But  the  same,  after  all,  in  matters  enduring.  — 

So  that ’s  it,  Boyg;  you  look  like  a lion, 

If  a day-light  view  one  succeeds  in  procuring! 

Are  you  still  good  at  riddling?  Well,  again  I will 
try  on. 

Will  you  in  the  same  answer,  I wonder,  persist?  You ! 
( Calls  out  towards  the  Sphinx) 

Boyg,  hi!  Who  are  you? 
a voice  {behind  the  Sphinx ) 

Ach,  Sphinx,  wer  bist  du? 

PEER  GYNT 

What?  Echo  answers  in  German?  How  curious! 

THE  VOICE 

Wer  bist  du? 

PEER  GYNT 

Clearly  its  learning ’s  not  spurious ! 
My  observation  is  new.  I may  quote  it. 

{Notes  in  his  book) 

So  “ Echo  German;  Berlin  accent,”  I note  it. 

[ Begrijfenfeldt  comes  from  behind  the  Sphinx. 

BEGRIPFENFEEDT 

A man ! 

PEER  GYNT 

O ! it  must  have  been  him  that  I heard. 
{Notes  again) 

“ Something  else,  to  upset  my  conclusions,  occurr’d.” 
BEGRiFFENFEEDT  {with  all  kinds  of  restless  antics) 

Oh ! Ein  Lebensfrage  — ! Herr  ! Dare  I to  do  — 
h’m? 

Is  there  reason  you  ’re  here  just  to-day?  What  is  it? 


SCENE  XIl] 


PEER  GYNT 


155 


PEER  GYNT 

I ’m  greeting  a friend  of  my  youth.  Just  a visit. 

BEGRIFFENFEEDT 

What ? The  Sphinx? 

PEER  GYNT  ( nods ) 

Yes ; in  days  gone  by  I knew  him. 

BEGRIFFENFELDT 

Famous  ! — And  that  after  such  a night ! 

My  brain  and  my  brow  beat  away  like  a bell ! Sir ! 
You  know  him?  Speak  on,  then!  Ah!  can  you  tell, 
sir, 

What  he  is? 

PEER  GYNT 

What  he  is  ? There  I ’ll  give  you  light. 

He  is  himself. 

BEGRIFFENFELDT  (t vith  a leap ) 

Ha ! On  my  vision  the  great 
Riddle  of  life  flashes  forth ! Then  it ’s  certain 
He ’s  himself? 

PEER  GYNT 

Yes,  he  says  so,  at  any  rate. 

BEGRIFFENFELDT 

Himself!  Revolution!  Ring  up  the  curtain! 

(Takes  his  hat  off ) 

And  your  name  is,  dear  sir? 

PEER  GYNT 

Peer  Gynt  I was  christen’d. 

BEGRIFFENFELDT  ( with  rapt  admiration) 

Peer  Gynt!  Allegoric!  I might  have  foreseen  — 
Peer  Gynt?  The  Unknown,  I presume  it  must  mean. 
The  Comer,  whose  coming  was  told ! Ah ! I listen’d — 

PEER  GYNT 

Really?  You  came  here  to  meet  — You  have  been  — 


156 


PEER  GYNT 


[act  iv 


BEGRIFFENFELDT 

Peer  Gynt!  Profound!  Enigmatic!  Clear! 

Each  word  has  a lesson,  deep  as  the  abyss  is ! 

What  are  you? 
peer  gynt  ( modestly ) 

I ’ve  tried  — though  human  to  miss  is  — 
To  be  myself.  And  I have  a passport  here. 

BEGRIFFENFELDT 

Again  at  the  bottom  that  word  enigmatic ! 

( Seizes  him  by  the  wrist ) 

Cairo  ! The  Interpreters’  Kaiser ! Ecstatic  ! 

PEER  GYNT 

Kaiser? 

BEGRIFFENFELDT 

Come  on ! 

PEER  GYNT 

But  am  I,  as  the  phrase  is  — ? 
BEGRIFFENFELDT  ( dragging  him  away ) 

The  Interpreters’  Kaiser  — upon  Self’s  basis  ! 

SCENE  THIRTEEN 

In  Cairo.  A large  courtyard,  with  high  walls  and 
buildings  round  it.  Barred  windows ; iron  cages. 
Three  Keepers  in  the  court.  A fourth  enters. 

THE  NEWCOMER 

Schafmann ; where’s  the  director?  He  told  me  to 
wait  now  — 

A KEEPER 

He  drove  off  in  the  morning  before  it  was  light. 

THE  FIRST 

Something  must  have  occurr’d  to  annoy  him,  last 
night. 

For  instance  — 


SCENE  XIIl] 


PEER  GYNT 


157 


ANOTHER 

Be  quiet,  he ’s  outside  the  gate  now ! 
[Begriffenfeldt  leads  Peer  Gynt  in,  locks  the  gate  and 
puts  the  key  in  his  pocket, 
peer  gynt  (aside) 

Indeed,  he ’s  a man  of  remarkable  gifts ; 

With  each  word,  beyond  comprehension  he  lifts 
The  subject.  (Looks  around ) 

So  this  is  your  Athenæum? 

BEGRIFFENEELDT 

Yes,  every  one  of  them,  here  you  can  see  ’em  — 

The  old  group  of  Interpreters  three  score  and  ten, 
But  we ’ve  added  a hundred  and  sixty  since  then  — 
(Shouts  to  Keepers) 

Michael,  Schlingelberg,  Schafmann,  Fuchs  — 

Into  the  cages  with  you  ! Shucks  ! 

THE  KEEPERS 

We! 

BEGRIFFENFELDT 

Get  in ! Who  else  but  you  ? 

When  the  world  buzzes  round,  we  must  buzz  with  it, 
too. 

(Forces  them  into  a cage) 

He  has  come  on  this  morning,  he,  Peer  the  Great; 
You  can  guess  the  rest  — more  I needn’t  state. 
(Locks  the  cage,  and  throws  the  key  into  a well) 

PEER  GYNT 

But,  my  dear  Herr  Doctor  and  Director  — er  — ? 

BEGRIFFENFELDT 

Neither  one  nor  the  other.  I have  been  — Mein  Herr, 

Can  you  keep  a secret?  I must  ease  my  heart 

peer  gynt  (with  increasing  uneasiness) 

What  is  it? 


158 


PEER  GYNT 


[act  IV 


BEGRIFFENFELDT 

Promise ! Don’t  tremble,  nor  start ! 

PEER  GYNT 

I will  try 

begriffenfeldt  (takes  him  into  a corner  and  whispers ) 
The  Absolute  Reason  quite 
Departed  this  life  at  eleven  last  night. 
peer  gynt 

God  help  me ! 

BEGRIFFENFELDT 

Yes,  it ’s  extremely  deplorable, 
And  to  me,  as  I ’m  placed,  it ’s  especially  horrible ; 
For  this  institution ’s  been  known  till  to-day 
As  a madhouse. 

PEER  GYNT 

A madhouse! 

BEGRIFFENFELDT 

Till  now,  I say, 

But  no  longer,  you  see. 
peer  gynt  (blanched,  saps  softly ) 

A madhouse ! This  shows  it ! 
And  this  man  is  mad  — and  there ’s  no  one  else 
knows  it ! 

(Tries  to  steal  off) 
begriffenfeldt  (follows  him) 

I hope  you  don’t  misunderstand  what  I ’ve  stated? 
When  I said  He  was  dead,  I — exaggerated. 

He ’s  beside  himself.  Out  of  his  skin  he  leapt  free, 
Like  my  comrade  Munchausen’s  fox  — do  you  see? 

PEER  GYNT 

Excuse  me  one  minute 

begriffenfeldt  (holding  him  back) 

’T  was  an  eel  he  was  like 


SCENE  XIIl] 


PEER  GYNT 


159 


Not  a fox,  of  course.  Right  through  his  eye  went  a 
spike ; 

He  writhed  on  the  wall 

PEER  GYNT 

Oh ! where  can  I win ? 

BEGRIFFENFELDT 

Just  a stick  round  his  neck  and,  whip  ! out  of  his  skin ! 

PEER  GYNT 

He ’s  utterly  crazy ! As  mad  as  can  be ! 

BEGRIFFENFELDT 

’T  is  quite  clear;  ’t  is  a fact;  futile  any  pretence  is, 
This  from-himself-going  must  have  consequences  ; 

In  chief,  revolution  by  land  and  sea. 

Those  who  were  call’d  crazy,  all  became  quite 
Normal,  at  eleven  o’clock  last  night, 

In  accordance  with  Reason’s  new  phase.  And  thence 
is, 

If ’t  is  rightly  regarded,  this  my  contention, 

This  fact  too,  at  the  hour  (see  above)  which  I 
mention, 

All  the  sane  people,  so  call’d,  went  out  of  their  senses. 

PEER  GYNT 

You  mention’d  the  hour.  My  time’s  short;  I’ve 
not  — 

BEGRIFFENFELDT 

Your  time ! You  remind  me ! I ’d  nearly  forgot ! 

( Opens  a door  and  shouts ) 

Come ! Of  the  new  age  I make  proclamation  ! 

Reason  is  dead.  Long  live  Peer  Gynt,  shout ! 

PEER  GYNT 

Now,  my  dear  good  sir  — 

[ The  lunatics  come  out,  at  intervals,  into  the  court- 
yard. 


160 


PEER  GYNT 


[act  IV 


BEGRIFFENFELDT 

Good  morning ! Come  out! 
And  hail  the  first  rays  of  emancipation ! 

Here ’s  your  Kaiser ! 

PEER  GYNT 

Kaiser  ? 

BEGRIFFENFELDT 

Yes,  Kaiser,  man. 

PEER  GYNT 

But  the  honour ’s  so  great,  so  much  out  of  my  way  — 
you 

BEGRIFFENFELDT 

Ah ! do  not  let  any  false  modesty  sway  you 
At  a moment  like  this. 

PEER  GYNT 

Give  me  time  that  I can  — ! 
No,  indeed,  I ’m  not  fit ; I’m  completely  dumfounded ! 

BEGRIFFENFELDT 

You!  who  have  read  the  Sphinx’s  secret,  astounded? 
You  who  ’re  yourself? 

PEER  GYNT 

’T  is  there  that  the  haze  is. 
In  everything  I am  myself,  am  I; 

But  here,  if  I follow  you,  one  must  try 
To  be  outside  oneself,  as  the  phrase  is. 

BEGRIFFENFELDT 

Outside?  Now,  that  is  a curious  mistake! 

Here  one  is  oneself  and  can  utterly  sever 
Everything  else  from  oneself  for  ever. 

Here,  full  sail,  as  ourselves,  our  course  we  make. 

Each  in  the  barrel  of  self  down  plunges 

And  ferments,  and  soon  all  but  self  expunges ; 

And  seals,  with  self’s  bung,  self’s  citadel, 


SCENE  XIIl] 


PEER  GYNT 


161 


And  seasons  the  staves  in  self’s  deep  well. 

No  one  has  tears  for  the  other’s  disasters ; 

What  the  other’s  ideas  are,  no  one  masters. 
Ourselves,  that  we  are  in  thought  and  tone, 
Ourselves,  to  the  spring-board’s  uttermost  verge  — 
And  so,  if  a Kaiser ’s  to  mount  the  throne, 

You  are  the  very  man,  I urge. 

PEER  GYNT 

Oh ! would  that  the  devil ! 

BEGRIFFENEELDT 

Now  don’t  be  downhearted; 
Nearly  all  things  in  nature  are  new  when  they  ’re 
started. 

“ Oneself ! ” — Come,  you  shall  an  example  see ; 

I ’ll  choose  out  at  random  the  first  to  be  had.  — 

( Beckons  to  a gloomy  figure) 

Good-day,  Huhu ! Well,  are  you  wandering,  my  lad, 
Always  with  the  imprint  of  misery? 

HUHU 

Yes ! Without  interpretations 

The  people  die,  by  generations.  ( To  Peer  Gynt) 

You  ’re  a stranger:  will  you  hear? 

PEER  GYNT  ( bowing ) 

Certainly ! 

HUHU 

Then  lend  an  ear  — 

Eastward,  far  as  travel  reaches, 

Lie  the  Malabarish  beaches. 

Dutch  and  Portuguese  surrounded 
Them  with  culture  quite  unbounded. 

Also  in  the  same  land  there  is 
Plenty  of  pure  Malabaris. 

These  too  spoil  the  people’s  speech,  as 


162 


PEER  GYNT 


[act  iv 


Well  as  lord  it  o’er  the  beaches. 

But  their  land,  in  years  of  old,  it 
Was  the  orang-outang  controll’d  it. 

In  the  forest  none  him  better’d ; 

There  he  fought  and  snarl’d  unfetter’d. 
Just  as  Nature  had  created 
Him,  so  grinn’d  he  and  so  hated. 

He  could  shriek  unreprehended ; 

For  his  kingdom  none  contended.  — 

Then  the  foreign  joke  (O  evil 
Day !)  quite  spoil’d  the  speech  primeval. 
Centuries  four,  without  cessation 
Night  ruled  o’er  the  monkey  nation. 
Nights  so  long,  you  know,  are  found  to 
Hide  the  goal  a people ’s  bound  to.  — 
Forest’s  primal  notes  are  still  now; 
Growls  the  air  no  longer  fill  now, 

If  we  wish  our  thoughts  to  utter 
We  in  feeble  words  must  stutter! 

This  constraint  is  really  much  too 
Rigid;  Portuguese  and  Dutch,  too, 
Half-caste  races,  Malabaris  — 

On  them  all  it  most  unfair  is.  — 

I have  tried  to  raise  th’  ideal 
Of  our  primal  speech,  the  real  — 

Tried  to  raise  the  corpse,  by  seeking 
Proofs  to  show  the  right  of  shrieking, 
Shriekt  myself,  and  tried  to  show  it 
Needful,  as  the  people’s  poet.  — 
Through  neglect  my  efforts  languish.  — 
Now,  I trust,  you  grasp  my  anguish. 
Thanks,  for  lending  me  an  ear; 

Have  you  counsel,  let  me  hear ! 


SCENE  XIIl] 


PEER  GYNT 


163 


PEER  GYNT  ( SOftl 2/) 

It  is  written : best  be  howling 

With  the  wolves  around  you  yowling.  (Aloud) 

Trees,  sir,  to  my  recollection, 

In  Morocco  give  protection 
To  orang-outangs,  quite  lacking 
Either  bard’s  or  spokesman’s  backing; 

Their  speech  sounded  Malabarish ! 

It  was  pleasing  yet  not  garish  — 

Have  you  thought  of  emigrating? 

There ’s  a way  to  serve  your  state  in 

HUHTJ 

Thanks  for  lending  me  an  ear,  sir ; 

I will  do  it  without  fear,  sir.  ( With  a large  gesture) 
East ! Thou  hast  disown’d  thy  singer ! 

In  the  West  orangs  still  linger.  (He  goes) 

BEGRIFFENFELDT 

Well,  was  he  himself?  I should  think  so  — wholly. 
He ’s  chock  full  of  his  own  affairs  simply  and  solely. 
He ’s  himself  in  all  that  out  of  him  flows,  — 

He ’s  himself  because  he  beside  himself  goes. 

Come  here ! I ’ve  another  to  show,  who  agrees,  on 
Everything  now,  since  last  night,  with  Reason. 

(To  a Fellah,  carrying  a mummy  on  his  back) 

King  Apis ! how  art  thou,  whom  all  realms  obey,  sir? 
the  fellah  (wildly  to  Peer  Gynt) 

Am  I King  Apis? 

peer  gynt  (getting  behind  the  doctor) 

Well,  I don’t  like  to  say,  sir; 

I ’m  not  quite  at  home  in  the  situation ; 

But  your  tone  might  be  a justification 

THE  FELLAH 

Now  you  ’re  lying,  too. 


164 


PEER  GYNT 


[act  IV 


BEGRIFFENFELDT 

Oh ! your  Highness  before  — I 
Should  explain  how  things  are. 

THE  FELLAH 

I will  tell  him  my  story. 

{Turns  to  Peer  Gynt ) 

Do  you  see  what  I have  on  my  shoulders? 

He  was  named  Apis  and  King. 

Now  he  goes  by  the  name  of  mummy, 

And  is  dead  as  anything. 

He  built  all  the  Pyramids  yonder, 

And  hew’d  out  the  mighty  Sphinx, 

And  fought,  as  the  Doctor  puts  it, 

With  the  Turks,  both  rechts  and  links. 

And  therefore  the  whole  of  Egypt 
Hail’d  him  god  and  bountiful, 

And  put  him  up  in  the  temples 
In  the  likeness  of  a bull.  — 

But  I am  this  same  King  Apis 
I see  that  as  clear  as  day; 

And  if  you  don’t  understand  it, 

Very  soon  understand  it  you  may. 

One  day  King  Apis  dismounted 
When  he  was  out  on  the  chase, 

And  withdrew  himself,  unattended, 

To  a part  of  my  ancestor’s  place. 

But  the  field  that  King  Apis  fatten’d 
Has  nourisht  me  with  its  corn ; 

If  additional  proofs  are  wanted, 

I have  an  invisible  horn. 

Is  it  not,  now,  a cruel  disaster 
That  no  one  will  own  my  might? 

I ’m  Apis  by  birth,  Egypt’s  master, 


SCENE  XIIl] 


PEER  GYNT 


165 


But  a Fellah  in  others’  sight. 

Can  you  tell  me  what  I should  do  now? 

If  you  have  advice,  kindly  state. 

The  problem  is,  how  to  make  me 
Like  to  King  Apis  the  great. 

PEER  GYNT 

You  had  better  build  pyramids,  Highness, 
And  hew  out  a mightier  Sphinx, 

And  fight,  as  the  Doctor  puts  it, 

With  the  Turks  both  rechts  and  links. 

THE  FELLAH 

H’m,  that  is  a pretty  story ! 

A Fellah!  A brother  to  lice! 

I who  can  scarce  keep  my  hovel 
Free  from  the  rats  and  mice. 

Quick,  man  — think  out  something  better 
That  ’ll  make  me  both  safe  and  great, 

And  exactly  like  to  King  Apis, 

Whom  my  shoulders  carry  in  state! 

PEER  GYNT 

Suppose  jmu  hang’d  yourself,  Highness, 

And  then,  in  earth’s  lap  lying, 

’Twixt  the  coffin’s  natural  frontiers, 

Kept  as  dead  as  anything? 

THE  FELLAH 

I ’ll  do  it ! My  life  for  a halter ; 

On  the  gallows  high  I will  sway ! — 

’T  will  be  a bit  strange  to  start  with, 

But  time  will  smooth  that  away. 

( Goes  off  and  prepares  to  hang  himself ) 

EEGRIFFENFELDT 

There ’s  a personality  for  you,  Herr  Peer  — 
A man  with  a method 


166 


PEER  GYNT 


[act  IV 


PEER  GYNT 

Yes,  yes ; I ’m  aware. 
But  he  ’ll  hang  himself  verily ! God ! Be  gracious ! 

I feel  ill  — I can’t  control  thoughts  pertinacious  — ! 

BEGRIFFENFELDT 

’T  is  a state  of  transition ; ’t  will  soon  disappear. 

PEER  GYNT 

Transition?  To  what?  Pray — I must  leave 
here 

BEGRiFFENDFELDT  ( holding  him ) 

Are  you  mad? 

PEER  GYNT 

Oh!  not  yet.  Mad?  God  forbid  it! 
[A  commotion.  The  Minister  Hussein  pushes  through 
the  crowd. 

HUSSEIN 

They  tell  me  a Kaiser  has  come  here  to-day. 

(To  Peer  Gynt) 

Is  it  you? 

peer  gynt  (in  desperation ) 

Yes,  of  course ! It  can’t  be  kept  hid,  it 
Seems  plain. 

HUSSEIN 

Good!  There  are  notes  to  write,  eh? 
peer  gynt  (tearing  his  hair) 

Huzza ! Right  there ; the  madder,  the  better ! 

HUSSEIN 

I hope  you  will  take  a dip  here,  for  your  letter. 
(Bowing  deeply) 

I am  a pen. 

peer  gynt  (bowing  still  deeper) 

Then  I am  (let ’s  tell  ’em!) 

A trumpery  piece  of  imperial  vellum. 


SCENE  XIIl] 


PEER  GYNT 


167 


HUSSEIN 

My  story  can  briefly  be  put  in  a word: 

I ’m  a pen,  and  they  call  me  a pounce-box,  my  lord. 

PEER  GYNT 

My  story,  put  briefly,  Sir  Pen,  is  a light  one  — 

I ’m  a blank  sheet  of  paper  that  no  one  will  write  on. 

HUSSEIN 

What  I am  good  for,  none  will  understand; 

They  all  try  to  use  me  for  scattering  sand. 

PEER  GYNT 

Once  a woman’s  silver-claspt  book  was  Peer  Gynt  — 
Whether  mad  or  sane,  ’t  is  the  same  misprint ! 

HUSSEIN 

Fancy;  what  an  agonised  life; 

To  be  Pen  and  ne’er  have  a taste  of  the  knife! 
peer  gynt  {with  a high  leap) 

Fancy;  a reindeer;  from  high  hills  to  bound  — 

To  fall  — and  your  hoofs  never  come  to  the  ground ! 

HUSSEIN 

A knife ! I am  blunt  — quick,  make  a new  end  to  me ! 
The  world  is  in  ruins,  if  none  acts  like  a friend  to  me ! 

PEER  GYNT 

’T  would  be  vastly  sad  for  the  world,  that  it  would, 
Which  God  said,  like  other  self-made  things,  was  good. 

BEGRIFFENFELDT 

Here ’s  a knife ! 

Hussein  ( seizing  it) 

To  lick  ink ! No  tongue  can  utter 
What  a rapture  to  cut  oneself!  ( Cuts  his  throat) 
BEGRIFFENFELDT  ( stepping  aside) 

Do  not  splutter. 

peer  gynt  (in  increasing  horror) 

Hold  him! 


168 


PEER  GYNT 


[act  IV 


HUSSEIN 

Hold  me ! That ’s  the  word  that  is  wanted ! 
Hold ! Hold  the  pen ! On  the  desk  should  be  planted 
Paper  — ! (Falls) 

I ’m  worn-out.  P.S.  ’t  is  decided 
He  lived  a,nd  he  died  as  a pen  fate-guided! 

PEER  6YNT  (d'lZZy) 

What  shall  I — ? What  am  I ? Great  — Help  is 
bespoke ! 

I am  all  that  thou  wilt  — a Turk,  sinner,  bad  — 

A hill  troll  — but  help  — there  was  something  that 
broke. 

( Shrieks ) 

I can’t  now  remember  the  name  I invoke ! — 

Help  me,  thou  — O Protector  of  all  the  mad ! 
(Sinks  down  in  a swoon ) 

BEGRiEFENFELDT  (with  a wreath  of  straw  in  his  hand, 
gives  a leap  and  sits  astride  him ) 

In  the  mire  enthroned  we  see  him ! 

Beside  himself  — ! Now  crown  him  there! 

(Puts  the  wreath  on  him  and  shouts ) 

Hail ! Self-hood’s  Kaiser ! Honor  we  him ! 

SCHAFMANN 

(In  the  cage) 

Es  lebe  hoch  der  grosse  Peer ! 

END  OF  FOURTH  ACT 


THE  FIFTH  ACT 

SCENE  ONE 

On  board  a ship  in  the!  North  Sea,  off  the  Norwegian 
coast.  Sunset.  Stormy  weather. 

Peer  Gynt,  a sturdy  old  man,  with  grizzled  hair  and 
beard,  stands  aft  by  the  poop.  He  is  dressed  half- 
sailor fashion,  in  a pea-jacket  and  long  boots.  Hid 
clothing  is  somewhat  the  worse  for  wear;  he  himself  is 
weather-beaten,  and  has  a harder  expression.  The 
Ship’s  Captain  is  beside  the  steersman  at  the  wheel. 
The  Crew  are  forward. 

peer  gynt  ( leans  his  arms  on  the  bidwarks,  and  gazes 
towards  the  land) 

Look  at  Hallingskarv,  drest  for  the  winter ! Oh ! 

He  swaggers  it  brave  in  the  evening  glow. 

His  brother,  the  Jokle,  ’s  behind  on  a cantle; 

He  still  wears  on  his  back  his  green  ice-mantle. 
The  Folgefånn,  too,  she  is  fine  and  bright, 

Lying  there,  like  a maiden,  in  perfect  white. 

Don’t  you  start,  old  lads,  any  madcap  play ! 

Stand  where  you  stand,  granite  stern  and  gray. 
the  captain  ( shouts  forward ) 

Two  hands  to  the  wheel  — and  aloft  show  a light ! 

PEER  GYNT 

It  blows  stiff. 

THE  CAPTAIN 

We  ’ll  have  a storm  ere  night. 


170 


PEER  GYNT 


[act  V 


PEEK  GYNT 

Can  one  make  out  the  Ronde  Hills  from  the  sea? 

THE  CAPTAIN 

Why  no,  man  — right  back  o’  the  snowfields  they  be. 

PEEK  .GYNT 

Or  Blaho? 

THE  CAPTAIN 

No;  but  from  up  in  the  rigging 
You  can  see,  in  clear  weather,  Galdhopiggen. 

PEER  GYNT 

Which  way  is  Hårteig? 
the  captain  ( pointing ) 

Just  there,  or  nearly. 

PEER  GYNT 

Of  course. 

THE  CAPTAIN 

You  know  the  coast  here,  clearly? 

PEER  GYNT 

When  I left  the  country,  we  sailed  this  way, 

And  the  dregs  stick  tight  till  the  last,  they  say. 

( Spits  and  gazes  at  the  coast ) 

Over  there,  in  the  blue  of  screes  and  crannies  — 
Where  the  valleys,  black,  narrow  as  ditches,  go  — 
And  right  on  the  edge  of  the  fiord,  below  — 

It  is  there  the  abiding  place  of  man  is. 

( Looks  at  the  Captain) 

They  build  far  apart  in  this  country. 

THE  CAPTAIN 

True ; 

The  dwellings  are  far  between  and  few. 

PEER  GYNT 

Shall  we  get  in  by  daybreak? 


SCENE  i] 


PEER  GYNT 


171 


THE  CAPTAIN 

I think  we  might, 

If  we  don’t  get  a regular  storm  in  the  night. 

PEER  GYNT 

It  grows  thick  in  the  west. 

THE  CAPTAIN 

It  does  so. 

PEER  GYNT 

Stay ! 

When  we  settle  things  up,  you  might  put  me  in 
mind  — 

As  the  phrase  is,  to  do  a good  turn  I ’m  inclined, 
Help  the  crew 

THE  CAPTAIN 

Thank  you! 

PEER  GYNT 

Nothing  much,  by  the  way. 
I have  digg’d  for  gold,  and  lost  what  I found  — 
Fate  and  I are  enemies,  down  to  the  ground. 

You  know  what  I ’ve  got,  safe  below,  on  board. 
That’s  all;  the  fiend  took  the  rest  of  my  hoard. 

THE  CAPTAIN 

It ’s  enough  to  make  you  highly  respected 
At  home. 

PEER  GYNT 

I ’ve  no  family.  He ’s  not  expected, 

The  rich  old  curmudgeon,  by  any  one  here.  — 

Well,  so  one  escapes  the  scene  on  the  pier! 

THE  CAPTAIN 

Here  is  the  storm. 

PEER  GYNT 

Well,  bear  in  mind  — 


172 


PEER  GYNT 


[act  V 


If  any ’s  in  real  need,  by  your  judging, 

I ’ll  help ; with  my  money  I ’ll  not  be  grudging. 

THE  CAPTAIN 

That ’s  handsome.  They  ’re  most  of  them  poor, 
you  ’ll  find ; 

They  all  have  got  wives  and  children  to  feed. 

Things  go  hard  with  a man  on  naught  but  his 
earnings ; 

Should  he  come  home  with  extra,  of  all  his  returnings 
’T  will  be  one  that  will  not  be  forgotten  with  speed. 

PEER  GYNT 

Wives  have  they,  and  children?  What ’s  this  are 
you  saying? 

Are  they  married? 

THE  CAPTAIN 

Married?  Yes,  the  whole  fo’c’sle. 
The  worst-off ’s  the  cook  for,  laughing  at  locks,  ill 
Famine  is  ever  at  his  house  staying. 

PEER  GYNT 

Married?  They  ’ve  folks  at  home  then  to  meet  them? 
When  they  come,  there  are  folks  to  be  glad  at  the 
sight? 

THE  CAPTAIN 

Of  course,  in  poor  folk’s  way. 

PEER  GYNT 

And  come  they  one  night, 

What  then? 

THE  CAPTAIN 

Why  the  good  wife  will  be  there  to  greet  them 
And  fetch  something  good. 

PEER  GYNT 

And  a light  ? 


SCENE  i] 


PEER  GYNT 


173 


THE  CAPTAIN 

May  be  two ; 

And  for  supper  a dram  of  some  hot  drink  will  brew. 

PEER  GYNT 

And  they  sit  there  so  snug ! And  it ’s  warm  by  the 
ingle ! 

How  they  chatter  as  with  them  their  children  mingle ! 
There  is  none  hears  another  right  out  to  the  end, 
For  the  joy  that  is  on  them!  — 

THE  CAPTAIN 

I daresay  that ’s  true. 

And  therefore  it ’s  handsome  of  you  to  befriend  — 
As  you  promised  to 

PEER  GYNT 

May  I be  damn’d  if  I do ! 

Do  you  think  I am  mad?  Would  you  have  me  fork 
out 

For  the  children  of  folk  I care  nothing  about? 

I ’ve  slaved  far  too  hard  at  my  money-collecting! 
Poor  old  Peer  Gynt  there  is  no  one  expecting. 

THE  CAPTAIN 

Well,  well,  as  you  please;  your  money’s  your  own, 
sir. 

PEER  GYNT 

Right ! It  is  mine ; and  mine  alone,  sir. 

We  ’ll  reckon,  as  soon  as  you ’ve  let  down  your 
anchor, 

Whatever  the  fare  is  from  Panama  here. 

Then  rum  round  to  the  crew.  Nothing  more;  never 
fear, 

I ’ll  no  more,  or  right  on  my  jaw  give  a spanker! 

THE  CAPTAIN 

I owe  you  a quittance  and  never  a thrashing  — 


174! 


PEER  GYNT 


[act  V 


But  pardon  — the  storm  to  a fury  is  lashing. 

[He  goes  forward.  It  has  come  over  dark;  lights  are 
lit  in  the  cabin.  The  sea  grows.  Fog  and  thick 
clouds. 

PEER  GYNT 

At  home  a whole  bevy  of  youngsters  expecting 
you; 

Always  with  joy  in  their  hearts  recollecting  you; 
To  have  other’s  thoughts  follow  you  still  on  your 
way  — 

There ’s  never  a soul  thinks  of  me  to-day  — 

Lights  for  to  greet  them?  Lights!  I will  quench 
them. 

I will  hit  upon  something!  With  liquor  I ’ll  drench 
them ; 

Not  one  of  the  beasts  shall  go  sober  ashore. 

Drunk  home  to  their  children  and  wives  they  shall 
stumble ! 

They  shall  curse;  bang  the  board  till  the  glasses 
tumble, 

They  shall  scare  those  that  wait  for  them ! Aye,  and 
more. 

Right  out  of  the  house  shall  the  good  wife  run 
screaming.  — 

Clutching  her  children ! Their  j oy  shatter’d  dream- 
ing! 

( The  ship  gives  a heavy  lurch ; he  staggers  and  keeps 
up  with  difficulty ) 

That ’s  a good  old  buffet,  a blow  like  a caber’s : 

The  sea  might  be  paid,  so  hard  are  his  labors; 

He’s  still  himself  here  in  the  North,  as  of  old; 

A cross  sea,  a crooked  and  wrong-headed  scold.  — 
( Listens ) 

What  is  it  — those  screams ? 


SCENE  i] 


PEER  GYNT 


175 


the  watch  (forward) 

A wreck  a-lee ! 

the  captain  ( amidships , orders) 

Starboard  your  helm  ! Keep  her  to ! 

THE  MATE 

Can  you  say, 

Are  there  men  on  the  wreck? 

THE  WATCH 

I can  see  three ! 

PEER  GYNT 

Quick  with  the  stern-boat 

THE  CAPTAIN 

She ’d  fill  straight  away. 

( Goes  forward) 

PEER  GYNT 

Who  can  think  of  that?  (To  some  of  the  crew) 

If  you  are  men,  try  and  save  them ! 
What  the  devil,  the  waves  and  a wetting,  just  brave 
them 

THE  BOATSWAIN 

It  cannot  be  thought  of  in  such  a sea. 

PEER  GYNT 

They  are  screaming  again ! There ’s  a lull  in  the  wind 
now  — 

Cook,  I will  pay  you  — come,  quick,  show  your  kind 
now  — 

THE  COOK 

Not  if  twenty  pounds  sterling  were  offer’d  to  me 

PEER  GYNT 

You  dogs  ! Chicken-hearted ! Can  you  forget 
These  men  have  wives,  children  at  home?  Oh!  and 
yet  — 

They  sit  and  they  wait 


176 


PEER  GYNT 


[act  V 


THE  BOATSWAIN 

Patience ’s  good  for  the  wits. 

THE  CAPTAIN 

Bear  away  from  the  breakers ! 

THE  MATE 

She ’s  going ! She  splits ! 

PEEK  GYNT 

All  is  silent ? 

THE  BOATSWAIN 

And  even  now,  were  you  right, 
In  the  world  there  are  three  new-made  widows 
to-night. 

[ The  storm  increases.  Peer  Gynt  moves  away  aft. 

PEER  GYNT 

There  is  no  faith  left  among  men  now  — and  there ’s 
No  Christianity,  ’t  is  true  what  they  write; 

Men  do  little  good ; and  how  scanty  their  pray’rs, 
And  how  small  their  respect  for  Supernal  Might.  — 
In  a storm,  like  this  is,  the  Lord ’s  a real  danger. 
These  beasts  should  take  care,  think  what ’s  true 
without  saying, 

That  with  elephants  it  is  but  risky  playing  — 

Yet  quite  openly  they  must  arouse  his  anger! 

I am  guiltless  quite;  there,  for  the  oblation, 

I ’ll  prove,  with  cash  ready,  I took  my  station. 

What  does  that  profit  me?  — Well,  as  the  phrase  is: 
A clear  conscience  a pillow  of  comfort  is. 

That ’s  all  right  on  dry  land ; but  quite  other  the 
case  is 

On  the  high  seas  here  where  the  wind  the  waves 
chases, 

When  a decent  man ’s  out  with  a rabble  like  this. 
One  never  can  be  one’s  self  at  sea; 


SCENE  i] 


PEER  GYNT 


177 


One  must  follow  the  rest,  a-port,  a-lee; 

If  for  them  this  should  be  the  hour  that  is 
chosen, 

I ’ll  be  dasht  to  the  deuce  with  the  cook  and  the 
bo’sun; 

One’s  personal  welfare  is  clean  set  aside ; 

One  counts  but  as  a sausage  at  slaughtering-tide  — 
My  mistake  is,  my  conduct  has  been  too  meek. 

And  I ’ve  had  no  thanks  in  the  end  to  reward  it. 
Were  I younger,  a different  plan  I would  seek, 

And  try  for  a time  to  swagger  and  lord  it. 

There’s  time  still!  The  parish  a-fluster  shall  be! 
Come 

Running  to  see  Peer  high  over  the  sea  come ! 

I will  get  back  the  homestead  by  hook  or  by  crook ; 
I ’ll  rebuild,  till  as  fine  as  a palace  it  look. 

But  I ’ll  have  none  inside  in  the  rooms ! All  the 
chaps 

Shall  stand  in  the  gateway,  twirling  their  caps ; 
They  shall  beg  and  beseech  — that  they  may  do,  for 
me ; 

Not  a farthing  of  mine,  though,  shall  one  of  them 
see; 

If  I ’ve  had  to  howl  under  Fate’s  sharp  lashes, 

I ’ll  find  folks  in  my  turn  — and  then  down  the  whip 
crashes  — 

a strange  passenger  ( stands  in  the  darkness  at  Peer 
Gynt’s  side  and  greets  him  as  a friend) 

Good  evening! 

PEER  GYNT 

Good  evening ! What ? Who  may  you  be  ? 

THE  PASSENGER 

At  your  service,  your  fellow  passenger. 


178 


PEER  GYNT 


[act  V 


PEER  GYNT 

Indeed!  I thought  I was  the  only  one,  sii*. 

THE  PASSENGER 

A mistake,  which  is  now  corrected,  you  see. 

PEER  GYNT 

But  it ’s  singular  that  for  the  first  time  to-night 
I should  see  you 

THE  PASSENGER 

I never  come  out  in  the  light. 

PEER  GYNT 

You’re  ill,  then?  You  look  like  a sheet,  just  as 
white 

THE  PASSENGER 

No,  thanks.  I ’m  uncommonly  fit  and  right. 

PEER  GYNT 

What  a storm! 

THE  PASSENGER 

Yes,  sir,  a blessed,  God-given ! 

PEER  GYNT 

Blessed? 

THE  PASSENGER 

The  seas  high  as  houses  are  running. 

How  one’s  mouth  waters ! To-night,  the  wrecks, 
stunning 

And  deafening,  along  the  coast  will  be  riven ; 

And  think,  how  the  corpses  ashore  will  be  driven! 

PEER  GYNT 

Lord  save  us ! 

THE  PASSENGER 

Have  you  ever  seen  a man  choked 
Or  hang’d — or  drowned? 

PEER  GYNT 

Too  far  you  have  joked. 


SCENE  i] 


PEER  GYNT 


179 


THE  PASSENGER 

The  corpses  all  laugh.  But  their  laughter ’s  con- 
strain’d ; 

And  the  most  part  are  biting  their  tongues,  as  tho’ 
pain’d. 

PEER  GYNT 

Leave  me ! 

THE  PASSENGER 

Your  pardon,  just  one  question  more! 
If  we,  for  example,  should  now  run  ashore 
And  sink  in  the  dark. 

PEER  GYNT 

You  think  that  we  may? 

THE  PASSENGER 

I really  don’t  know  what  I ought  to  say. 

But  suppose  that  you  sink,  and  I come  up,  lonely. 

PEER  GYNT 

Oh,  rubbish 

THE  PASSENGER 

It  is  a hypothesis  only, 

But  when  a man  stands  with  one  foot  in  the  grave. 
He  grows  open-handed,  would  avoid  seeming  hate- 
ful— 

Peer  gynt  ( feeling  in  his  pocket) 

Oh ! money ! 

THE  PASSENGER 

No;  no;  but  if  you  gave 

Your  esteem’d  carcass  to  me,  I would  be  grate- 
ful  ? 

PEER  GYNT 

This  is  too  much! 


180 


PEER  GYNT 


[act  V 


THE  PASSENGER 

It ’s  only  your  body,  I pray  you ! 
And  that ’s  for  my  work  of  research 

PEER  GYNT 

Getaway!  You! 

THE  PASSENGER 

But,  my  dear  sir,  consider  — ’t  will  be  to  your 
profit ! 

I ’ll  open  you,  then  we  will  know  the  truth  of  it. 
What  I specially  seek  is  the  seat  of  dreams  — 

And  critically  I will  look  at  your  seams 

PEER  GYNT 

Go  away  from  me ! 

THE  PASSENGER 

But,  my  dear  sir  — a drown’d  body 

PEER  GYNT 

Blasphemer ! You  ’re  goading  the  storm  to  be  bloody ! 
It ’s  really  too  bad ! Here  it ’s  raining  and  blowing, 
A high  sea,  and  all  kinds  of  signs  that  are 
showing 

There ’s  something  that  comes  for  our  death  or  our 
chastening ; 

And  you,  by  your  talk,  will  insist  on  its  hastening! 

THE  PASSENGER 

You  ’re  in  no  mood  for  further  negotiations, 

But  time,  you  know,  brings  so  many  mutations 

( Nods  in  friendly  wise) 

We  will  meet  when  you  ’re  sinking,  if  not  before ! 
Then  by  my  proposals  you  may  set  more  store. 

( Goes  into  the  cabin) 

PEER  GYNT 

What  dismal  companions,  these  scientists ! So 
Free- thinking  and 


181 


SCENE  i]  PEER  GYNT 

(To  the  Boatswain,  who  is  -passing ) 

Friend,  a word  with  you!  Oh! 
That  passenger?  What  asylum  has  been  his  nurse? 

THE  BOATSWrAIN 

There ’s  no  passenger  here  but  yourself,  is  there? 

PEER  GYNT 

No  others?  This  thing’s  getting  worse  and  worse. 
{To  the  Ship’s  Boy,  who  comes  out  of  the  cabin ) 
Who  went  down  the  companion  just  now? 

THE  BOY 

Ship’s  dog,  Sir!  {Passes  on) 

THE  LOOK-OUT  {shouts) 

Land  close  ahead! 

PEER  GYNT 

Oh ! my  bos ! My  safe ! How  — ? 
All  the  baggage  on  deck ! 

THE  BOATSWAIN 

We  have  more  to  do  now. 

PEER  GYNT 

It  was  nonsense,  captain  ! Just  chaff ! I swear 
I will  help  the  cook ; yes,  I pledge  my  wits 

THE  CAPTAIN 

The  j ib ’s  blown  away  ! 

THE  MATE 

And  the  foresail  goes  ! There ! 
the  boatswain  {screams  from  forward) 

Breakers  under  the  bow ! 

THE  CAPTAIN 

She  ’ll  go  to  bits  ! 

[ The  ship  strikes.  Noise  and  confusion. 


182 


PEER  GYNT 


[act  V 


SCENE  TWO 

Close  by  the  land,  among  rocks  and  breakers.  The 
ship  sinks.  In  the  scud,  the  jolly-boat  can  be  seen,  with 
two  men  in  her.  A sea  strikes  and  fills  her;  she  capsizes ; 
a shriek  is  heard;  then  all  is  silent  for  a time.  Shortly 
after  the  boat  comes  bottom  upwards. 

Peer  Gynt  rises  to  the  surface  near  the  boat. 

PEER  GYNT 

Help!  Lord!  A boat!  I’m  drowning!  Oh! 

Save  me  — ! How  does  the  scripture  go? 

( Clutches  on  the  boat’s  keel) 
the  cook  ( rises  on  the  other  side) 

Lord!  For  my  babes’  sakes,  stretch  Thine  hand! 
Have  mercy!  Fetch  me  safe  to  land! 

( Seizes  hold  of  the  keel) 

PEER  GYNT 

Let  go ! 

THE  COOK 

Let  go ! 

PEER  GYNT 

I ’ll  strike ! 

THE  COOK 

So  ’111! 

PEER  GYNT 

With  kicks  I ’ll  crush  you  utterly ! 

Let  go!  The  boat  will  not  float  both! 

THE  COOK 

No.  Yield! 


PEER  GYNT 


Yield ! 


SCENE  II] 


PEER  GYNT 


183 


THE  COOK 

You  can  take  your  oath! 

[They  fight;  one  of  the  Cook's  hands  is  disabled;  he 
clings  on  with  the  other. 

PEER  GYNT 

Off  with  that  hand ! 

THE  COOK 

Oh  ! Kind  Sir  — spare ! 

Think  of  my  babes,  a-waiting  there ! 

PEER  GYNT 

I need  my  life  far  more  than  you, 

For  I am  childless  still. 

THE  COOK 

Nay!  do 

Let  go!  You ’ve  lived;  and  I am  young! 

PEER  GYNT 

Quick,  sink  — your  weight  too  long  has  hung 

THE  COOK 

Have  mercy ! Yield  in  God’s  name  yet ! 

There ’s  none  to  miss  you  nor  regret  — 

(He  screams  and  slips  ) 

I ’ll  drown ! 

peer  gynt  [seizes  him ) 

I ’ll  hold  you  by  the  hair ; 

Say  an  “ Our  Father  quick,  to  pray’r ! 

THE  COOK 

I can’t  remember  — ; dark  clouds  cover ! 

PEER  GYNT 

Quick,  the  essentials ! Get  it  over ! 

THE  COOK 

Give  us  this  day ! 


184 


PEER  GYXT 


[act  V 


PEEK  GYNT 


Oh,  let  that  be! 
You  ’ll  get  all  you  need,  certainly. 

THE  COOK 

Give  us  this  day 

PEER  GYNT 


The  same  old  song! 

’T  is  plain  you ’ve  been  a cook  for  long 

[ The  Cook  slips  from  his  grasp. 
the  cook  ( sinking ) 

Give  us  this  day  our ( Disappears ) 

PEER  GYNT 


Amen,  friend! 

You  were  yourself  right  to  the  end  — 

( Pulls  himself  up  on  the  boat) 

While  there  is  life,  there ’s  hope,  say  I 

the  strange  passenger  ( catches  hold  of  the  boat) 
Good  morning! 

PEER  GYNT 

Hey! 

THE  PASSENGER 

I heard  }rou  cry ! — 

’T  is  good  again  to  meet  with  you. 

Well?  So  my  prophecy  came  true? 

PEER  GYNT 

Let  go  ! ’T  will  scarce  serve  one,  this  boat ! 

THE  PASSENGER 

I ’m  swimming  too.  And  I can  float 
If  I have  but  my  finger-tips, 

So,  on  this  ledge  to  guard  off  slips. 

But  å propos  your  body 

PEER  GYNT 


Peace ! 


SCENE  II] 


PEER  GYNT 


185 


THE  PASSENGER 

The  rest,  of  course,  is  done  for 

PEER  GYNT 

Cease! 

No  more! 

THE  PASSENGER 

Just  as  you  like.  (i Silence) 

PEER  GYNT 

Well?  Well! 

THE  PASSENGER 
I ’m  silent. 

PEER  GYNT 

Satan’s  tricks  of  hell ! — 

What  do  you? 

THE  PASSENGER 

Wait. 

peer  gynt  ( tearing  his  hair ) 

I ’ll  lose  my  wits. 

What  are  you? 

THE  PASSENGER  ( nodding ) 

Friendly. 

PEER  GYNT 

What  else? 

THE  PASSENGER 

It  ’S 

For  you  to  think.  Know  you  none  other 
Like  me? 

PEER  GYNT 

The  devil,  or  his  brother! 

THE  PASSENGER  ( Softly ) 

Across  life’s  night  holds  he  a lamp 
For  mortals  who  through  horror  tramp? 


186 


PEER  GYNT 


[act  V 


PEER  GYNT 

Come  then,  when  things  are  seen  aright, 

You  are  a messenger  of  light? 

THE  PASSENGER 

Friend  — have  you  known  twice  in  a year 
The  clutch  of  earnest  dread  and  fear? 

PEER  GYNT 

One  fears,  when  one  towards  risk  has  slidden; 
But  in  your  words  lie  meanings  hidden 

THE  PASSENGER 

Ay,  have  you  once  in  life  e’er  known 
The  vict’ry  dread  gives  — dread  alone? 

PEER  GYNT  ( looks  at  him) 

Came  you  to  open  me  a door, 

’T  was  stupid  not  to  come  before. 

Now  I’m  half-drown’d  — what  rhyme  or  reason 
Was  there  in  choosing  such  a season? 

THE  PASSENGER 

Would  victory  have  likelier  been 
Beside  your  hearthstone,  snug,  serene? 

PEER  GYNT 

Perhaps  not  — but  your  talk  was  droll ; 

How  could  you  think  ’t  would  stir  the  soul? 

THE  PASSENGER 

Where  I come  from,  pathetic  style ’s 
No  more  esteemed  than  jests  and  smiles. 

PEER  GYNT 

All  has  its  time ; the  old  text  I fish  up  — 

What  suits  the  broker  damns  the  Bishop. 

THE  PASSENGER 

They  who ’ve  gone  thro’  incineration 
On  week-days  must  have  relaxation. 


SCENE  III] 


PEER  GYNT 


187 


PEER  GYNT 

Be  off,  you  bugbear!  Loose  that  hand! 

I will  not  die  ! I will  reach  land ! 

THE  PASSENGER 

Don’t  be  afraid,  you  ’ll  keep  alive ! 

One  dies  not  midmost  of  Act  Five.  ( Glides  away ) 

PEER  GYNT 

That  shows,  at  last,  his  nature’s  twist ! 

He  was  a sorry  moralist. 

SCENE  THREE 

Churchyard  in  a high-lying  mountain  parish. 

A Funeral.  Priest  and  People.  The  last  verse  of 
the  Psalm  is  being  sung.  Peer  Gynt  is  passing  by  on 
the  road. 

peer  gynt  (at  the  gate ) 

Here ’s  a count^man  going  the  way  of  us  all. 

God  be  thankt,  that  it  is  n’t  my  funeral. 

(Enters  the  churchyard ) 
the  priest  (speaking  beside  the  grave ) 

Now  that  the  soul ’s  been  summoned  to  its  God, 
And  here  the  dust  lies,  like  an  empty  pod, 

Now,  my  dear  friends,  we  ’ll  speak  a word  upon 
The  life  on  this  earth  of  the  man  who ’s  gone. 
Wealth  was  not  his,  wisdom  he  had  no  share  in, 

He  had  a quiet  voice,  unmanly  bearing, 

His  views  were  undecided,  if  he  spoke; 

He  scarce  was  master  of  his  home  and  folk; 

He  sidled  into  church,  as  he  were  saying, 

“ May  I have  leave  to  join  you  in  your  praying?  ” 
He  came,  you  know,  from  Gudbrandsdale,  unbidden. 
When  here  he  settled,  he  was  but  a lad; 


188 


PEER  GYNT 


[act  V 


And  you  remember,  how  he  always  had 
His  right  hand  thrust  deep  in  his  pocket  hidden. 
That  right  hand  in  the  pocket,  to  mj^  thinking, 
Stampt  the  man’s  picture  firmly  on  the  mind  — 

And  beside  that  his  writhing,  his  shamed  shrinking, 
Where’er  he  went,  from  notice  of  his  kind. 

But  though  his  path  was  still  aloof  and  lonely, 
Though  in  our  midst  he  was  a stranger  still, 

You  know,  what  he  so  wanted  to  conceal  — 

The  hand  he  cover’d,  had  four  fingers  only.  — 

I well  remember,  many  years  ago, 

One  morn : at  Lunde  there  were  held  assizes. 

It  was  in  war  time,  and  the  country’s  crisis 
Was  in  all  mouths,  and  what  the  fates  might  show. 

I watcht  there.  At  the  table,  in  between 
Bailiff  and  sergeants  was  the  Captain  sitting; 

Then  they  were  measuring  up  and  down,  admitting 
Lad  after  lad  as  soldiers.  From  the  green, 

Where  the  young  folk  were  all  together  singing, 

Into  the  crowded  room,  swept  laughter  ringing. 

A name  was  call’d.  Another  came;  and,  lo! 

He  was  as  white  as  is  the  glacier-snow. 

He  was  call’d  nearer;  at  the  last  the  table 
Reacht ; his  right  hand  was  swaddled  in  a clout ; 

He  gasp’d,  he  swallow’d,  strove  for  words  — unable 
To  find  his  voice,  though  bidden  to  speak  out. 

All,  yes,  at  last;  with  words  that  now  would 
linger, 

Now  rush  apace,  with  cheeks  all  flaming-red, 

He  mumbled  of  a scythe  that  slipp’d,  he  said. 

And  shore,  by  chance,  right  to  the  skin,  his  finger. 
Straight  o’er  the  room  a sudden  silence  stole. 

Men  made  mouths,  bandied  glances,  and  the  whole 


SCENE  ra] 


PEER  GYNT 


189 


Room  stoned  the  lad  with  looks.  He  could  not  flee  it ; 
He  felt  the  hail-storm,  though  he  did  not  see  it. 
Then  rose  the  grey  old  Captain,  spat,  and  so 
Pointed  without  the  door  and  thunder’d : “ Go ! ” 
And  the  lad  went.  All  there  fell  back  before  him, 
So  that  he  ran  the  gauntlet  through  that  throng; 
He  found  the  door;  fled,  and  his  anguish  strong 
Up,  ever  up,  through  woods,  o’er  hillsides  bore  him, 
Up,  o’er  the  crags  that  threaten  still  to  tumble, 
Among  the  hills  he  had  his  homestead  humble.  — 
With  mother  and  betrothed  and  child,  one  day 
Some  six  months  later  here  we  saw  him  wander. 

He  leased  some  ground  up  on  the  hillside  yonder 
Where  towards  Lomb  the  waste  land  sweeps  away. 
He  married  soon  as  it  was  possible ; 

He  built  a house ; broke  the  stern  soil ; and  well 
He  fared,  as  many  an  acre  bravely  told 
Bearing  its  generous  load  of  waving  gold. 

At  church  he  ever  kept  his  right  hand  hidden  — 

Ah ! but  at  home ! His  fingers  nine  would  then, 

I ’m  sure,  work  just  as  hard  as  others’  ten.  — 

One  spring,  and  all  beneath  the  flood  had  slidden. 
Their  lives  were  spared  them.  Stript  of  all,  in 
ruin, 

He  set  to  work  to  make  another  clearing, 

And,  ere  the  autumn,  a new  farm-house  grew  in 
Another  spot,  in  shelter  safe  appearing. 

Shelter’d?  From  flood,  indeed;  from  landslide,  no! 
Two  years,  and  all  was  swallow’d  by  the  snow. 

Yet  by  the  landslide  was  his  soul  unshaken ; 

He  dug,  he  raked,  carted  and  cleared  the  ground  — 
And  ere  next  winter’s  blasting  snows  could  waken, 
For  the  third  time  his  little  house  stood  sound. 


190 


PEER  GYNT 


[act  V 


Three  sons  he  had,  three  active  boys  and  merry; 
And  they  must  go  to  school,  and  school  was  far; 
They ’d  have  to  climb,  where  snows  the  hill-path  bury, 
And  where  the  narrow,  trembling  passes  are. 

What  did  he  do?  The  eldest  boy  was  ready 
To  do  his  best,  and  where  the  pass  sheer’d  black, 
His  father  tied  a rope  round  him  to  steady; 

The  other  two  he  bore  on  arms  and  back. 

Thus,  year  by  year  he  toil’d,  till  they  were  men. 
Some  slight  return  he  might  have  lookt  for,  then. 

In  the  New  World  three  prosperous  attorneys 
Forget  their  Norse,  their  father  and  those  journeys. 
He  was  short-sighted.  Still  a ring  was  bounding 
His  vision ; only  those  near  him  he  saw. 

To  him  seem’d  meaningless,  as  cymbals  sounding, 
Words  that  should  ring,  and  touch  the  heart  with  awe. 
His  race,  his  country,  all  that ’s  high  and  bright, 
Stood  shrouded  in  a mist  to  this  man’s  sight. 

But  he  was  humble,  humble;  and  he  came 
From  the  assizes  by  his  doom  fear-ridden, 

As  surely  as  his  cheeks  were  flushed  with  shame 
And  his  four  fingers  in  his  pocket  hidden.  — 

He  sinn’d  against  the  law  of  the  land?  Ay,  true! 
But  there  is  something  tops  the  law,  outshining, 
Sure  as  o’er  yonder  snow-white  mountain  do 
The  clouds,  like  higher  peaks,  on  peaks  reclining. 

He  was  no  patriot.  Dead  as  a barren  tree  is 
For  Church  and  State.  But  on  his  mountain  shelf 
There,  ’mid  his  circle  small,  where  he  could  see  his 
Work,  he  wTas  strong,  because  he  was  himself. 

Up  to  the  end,  that  native  note  rang  right. 

A lute  with  silent  strings  to  him  was  given. 

Peace  to  thee,  thou  who  quietly  has  striven, 


SCENE  III] 


PEER  GYNT 


191 


Fighting  and  falling  in  the  peasant’s  fight ! 

It  is  not  ours  to  search  the  heart  and  reins; 

That ’s  not  dust’s  task,  but  His  who  dust  sustains ; 
Yet  what  I hope  I ’ll  speak  out  firm  and  free : 

Scarce  crippled  now  before  his  God  stands  he ! 

[ The  gathering  disperses.  Peer  Gynt  remains  behind 
alone. 

PEER  GYNT 

Now  that ’s  what  I call  Christianity ! 

There  was  nothing  to  bring  to  one  disconsolation.  — 
Aye,  the  topic  — stand  firm  on  a self-foundation  — 
That  the  good  priest  taught  in  his  homily  — 

Is  full,  in  its  essence,  of  edification. 

( Looks  down  into  the  grave ) 

Was  it  he,  that  I watcht  one  day  a-hacking 
His  finger,  when  logs  in  the  wood  I was  stacking? 
Who  knows?  If  I weren’t  standing  here  by  the 
grave 

Of  my  comrade  in  spirit,  here,  with  my  stave, 

I could  almost  believe  it  was  I that  slept 
And  heard,  in  a dream,  with  what  praise  I was 
wept.  — 

It  ’s  a decent  and  Christian-like  thing  to  do 
To  take  a so-call’d  memorial  view 
In  charity  over  the  one  that ’s  departed. 

When  I ’m  to  be  buried,  I ’d  not  be  down-hearted 
If  this  excellent  priest  was  to  do  the  rest. 

Ah ! well,  I ’ve  some  time  still ; the  sexton ’s  not 
started 

To  send  out  his  note  to  ask  me  as  his  guest; 

And,  as  Scripture  has  it : What ’s  best  is  best  — 
For  the  day,  enough  the  day’s  evil  things  call  — 
And  further:  discount  not  thy  funeral.  — 


192 


PEER  GYNT 


[act  V 


Ah!  the  Church  is  the  comforter!  To  her  is  owing 
Our  thanks,  though  I ’ve  not  realized  it  as  yet ; 

But  now  I feel,  what  a true  blessing  we  get 
In  having  a sound  authority  showing: 

That  your  reaping  shall  be  in  accord  with  your 
sowing.  — 

One  must  be  oneself ; for  oneself  and  one’s  kin 
In  all  do  one’s  best,  through  thick  and  thin. 

Should  luck  go  against  you,  you ’ve  this  to  your 
glory ; 

The  doctrine  has  guided  your  whole  life-story.  — 
Now  home!  Though  the  path  be  steep  and  strait; 
Though  Fate  to  the  end  should  spite  my  endeav- 
our ; 

Still  old  Peer  Gynt  will  go  his  own  gait 

And  remain  what  he  is : poor,  but  virtuous  ever. 

{He  goes ) 


SCENE  FOUR 

A slope  with  a dried-up  river-bed.  A tumble-to-bits 
mill-house  beside  the  river;  the  ground  is  torn  up,  and 
the  whole  place  is  in  ruins.  Higher  up  a large  farm- 
house. 

In  front  of  the  farm-house  an  auction  is  being  held. 
Many  people  are  gathered.  There  are  drinking  and 
uproar. 

Peer  Gynt  is  sitting  on  a rubbish  heap  by  the  null. 

PEER  GYNT 

Backwards  and  forwards,  ’t  is  just  as  long; 

In  and  out,  and  it ’s  strait  as  strong.  — 

The  river  wears  on,  and  time  wastes  drear. 
Roundabout,  said  the  Boyg;  one  must  go  round  here. 


SCENE  IV ] 


PEER  GYNT 


193 


A MAN  DRESSED  IN  MOURNING 

Now  there  is  nothing  but  rubbish  to  stir. 

( Catches  sight  of  Peer  Gynt ) 

Are  there  strangers  here,  too?  God  be  with  you, 
dear  sir! 

PEER  GYNT 

Well  met!  Things  are  merry  to-day,  I see. 

A bride-feast  or  christening  jollity? 

THE  MAN  IN  MOURNING 

Rather  a house-warming,  I should  have  said ; 

The  bride  is  laid  in  a wormy  bed. 

PEER  GYNT 

The  worms  squabble  for  rags  and  clouts  that 
cover 

THE  MAN  IN  MOURNING 

That ’s  the  end  of  the  ditty,  so  all  is  over. 

PEER  GYNT 

All  the  ditties  end  so,  that ’s  truth ; 

And  they  all  are  old;  I knew  them  in  youth. 
a ead  of  twenty  ( with  a casting-ladle) 

Just  see  what  a priceless  thing  I ’ve  bought! 

In  this  Peer  Gynt  silver  buttons  wrought. 

ANOTHER 

Look  at  mine?  A groat  got  the  money-sack! 

A THIRD 

No  more?  Twopence,  say,  for  the  pedlar’s  pack? 

PEER  GYNT 

Peer  Gynt?  Who  was  he? 

THE  MAN  IN  MOURNING 

Well,  he  was  kith, 

That  I know,  to  Death  and  to  Aslak  the  Smith. 

A MAN  IN  GREY 

You ’ve  forgot  me,  I say!  Are  you  drunk  or  mad? 


194 


PEER  GYNT 


[act  V 


THE  MAN  IN  MOURNING 

You ’ve  forgot  that  Hegstad  a stable-door  had. 

THE  MAN  IN  GREY 

Aye,  true,  but  we  know  you  were  never  fastidious. 

THE  MAN  IN  MOURNING 

If  only  she  does  n’t  deceive  Death  the  hideous. 

THE  MAN  IN  GREY 

Come,  kinsman!  For  kinship’s  sake,  take  just  a 
drop ! 

THE  MAN  IN  MOURNING 

To  hell  with  your  kinship!  With  drink  you’re  a 
slop 

THE  MAN  IN  GREY 

Oh,  rubbish;  I ’m  sure  blood  is  not  so  thin, 

One  cannot  help  feeling  to  Peer  Gynt  akin. 

( Goes  away  with  him ) 

PEER  GYNT  ( Softly ) 

One  meets  with  acquaintances. 
a ead  ( shouts  after  The  Man  in  Mourning ) 

Aslak,  think ! 

Sure,  mother  will  haunt  you,  if  you  have  a drink. 
peer  gynt  (rises) 

Untrue,  in  this  case,  what  the  husbandmen  tell, 
is; 

The  deeper  one  harrows,  the  better  the  smell  is. 
a EAn  ( with  a bearskin ) 

Look,  the  cat  of  the  Dovre!  Well,  what  he  kept 
warm  in. 

It  was  he,  who  at  Yule,  gave  the  trolls  such  a 
storming. 

another  {with  a Reindeer- skull) 

Here  is  the  wonderful  reindeer  that  bore 
Peer  Gynt  when  o’er  edge  and  crag  they  tore. 


SCENE  iv] 


PEER  GYNT 


195 


a third  {with  a hammer,  calls  out  to  The  Man  in 
Mourning) 

Hi,  Aslak,  were  you  ever  this  sledge-hammer  swing- 
ing? 

Was  it  used,  when  the  fiend  through  the  wall  went 
winging? 

a fourth  ( empty  handed) 

Mads,  here ’s  the  invisible  cloak,  see ! wherewith 
Ingrid  and  Peer  fled ; and  flew  through  the  air  with. 

PEER  GYNT 

Brandy  there,  boys  ! I feel  old ! — My  trumpery 
I will  put  up  at  auction  with  trash  and  frumpery ! 

A EAD 

What  have  you  to  sell,  eh? 

PEER  GYNT 

A palace,  there ! 

It  lies  in  the  Ronde;  it  is  built  four-square. 

A EAD 

A button  is  bid ! 

PEER  GYNT 

Come,  make  it  a quart. 

’T  were  a sin  and  a shame  to  bid  anything  short. 

ANOTHER 

He ’s  a jolly  old  boy,  this  ! ( People  crowd  round  him) 

PEER  GYNT  ( shouts ) 

Grane,  my  horse  — 

Who  bids? 

ONE  OF  THE  CROWD 

Where ’s  he  running? 

PEER  GYNT 

Far  west  is  his  course. 
Near  the  sunset,  my  lads!  He’s  as  quick  at  flying, 
Is  that  charger  of  mine,  as  Peer  Gynt  was  at  lying. 


196 


PEER  GYNT 


[act  V 


VOICES 

What  more  have  you  got? 

PEER  GYNT 

Gold  and  trash  as  well! 
I bought  it  with  ruin  — at  a loss  I will  sell. 

A EAD 

Put  it  up ! 

PEER  GYNT 

A dream  of  a silver-claspt  book! 

That  I ’ll  let  go  for  the  price  of  a hook. 

THE  LAD 

To  the  devil  with  dreams! 

PEER  GYNT 

My  kaiserdom,  man ! 

I fling  it  among  you,  let  take  it  who  can ! 

THE  LAD 

Is  the  crown  given  in? 

PEER  GYNT 

Of  the  loveliest  straw. 

The  first  who  shall  wear  it,  ’t  will  fit  without  flaw. 
Hi,  there  is  more ! An  addled  egg,  there ! 

The  Prophet’s  beard ! A madman’s  grey  hair ! 

All  are  his  who  can  find  for  one  who  astray  is 
A sign  post  in  the  hills  saying : Here  your  way  is ! 

THE  BAILIFF  ( who  llOS  COTTie  Up ) 

If  you  carry  on  in  this  manner  much  more 
Your  way  will  soon  lead  to  the  prison-door. 
peer  gynt  ( hat  in  hand) 

Quite  likely.  But  who  was  Peer  Gynt,  can  you  tell, 
sir? 

THE  BAILIFF 

What  nonsense 


SCENE  IV ] 


PEER  GYNT 


197 


PEER  GYNT 

Your  pardon!  I beg  you 


THE  BAILIFF 

Oh!  well,  sir, 

He ’s  said  to  have  been  a disgusting  romancer 

PEER  GYNT 

A romancer? 

THE  BAILIFF 

Yes  — all  that  was  strong  or  great 
He  romanced  about,  he  did  it  all,  he ’d  state. 

But  pardon  me,  friend — I have  duties  to  answer 

(Goes) 

PEER  GYNT 

And  now,  this  remarkable  man,  where  is  he? 

AN  ELDERLY  MAN 

To  foreign  lands  he  sail’d  over  the  sea ; 

It  fared  ill  with  him  too,  as  one  might  swear  — 

It ’s  many  years  since  he  was  hanged  out  there. 

PEER  GYNT 

Hang’d?  Ay,  ay!  I ’d  have  thought  as  much; 

Peer  Gynt  was  himself  to  the  final  touch.  (Bows) 
Farewell  — and  thank  you  all  for  the  day, 

(Goes  a few  steps,  but  stops  again) 

You  joyous  lads  and  you  damsels  pretty, 

With  a traveller’s  tale  my  shot  shall  I pay? 

SEVERAL 

Yes,  do  you  know  any? 

PEER  GYNT 

Aye,  and  witty.  — 

(He  comes  nearer ; a look  of  strangeness  steals  over 
him) 

Out  in  ’Frisco  once  I was  digging  for  gold. 

It  was  cramm’d  with  buffoons,  a number  untold. 


198 


PEER  GYNT 


[act  V 


With  his  toes  one  could  fiddle  away ; on  his  haunches 
Another  could  dance  the  old  Spanish  dances; 

A third  composed  verses,  and  still  could  do  it 
While  his  brain-pan  was  having  a hole  bored  thro’  it. 
To  this  buffoon-meeting  the  devil  came  hieing  — 
Thought  he,  with  the  rest,  his  luck  would  be  trying. 
His  great  line  was  this : in  a perfectly  fine 
Realistic  way  he  could  grunt  like  a swine. 

In  a full  house,  th’  excitement  was  tense;  tho’  none 
knew 

Who  he  was,  yet  his  personality  drew. 

He  came  on  in  a cloak  with  a flying  cape ; yes,  it  — 
Or  Man  muss  sich  drappiren,  as  Germans  express  it. 
But  under  that  cape  — what  no  one  suspected  — 
He ’d  smuggled  a real,  live  pig  undetected. 

And  now  began  the  representation. 

He  pincht ; and  the  pig  squeakt  up  to  th’  occasion. 
The  whole  thing  was  a fantasy,  or  tried  to  be, 

On  the  life  of  a pig,  both  enslaved  and  free ; 

At  the  end,  a shrill  slaughter-house-shriek  let  vent ; 
Whereupon  the  performer  bowed  humbly,  and 
went.  — 

The  critics  discussed  and  judged  the  whole  picture; 
Its  scheme  met  with  praise  and  also  with  stricture; 
Some  thought  the  tone  was  too  attenuated; 

Some  that  the  death-shriek  show’d  too  much  labor  — 
But  that  qua  grunt  he  had  exaggerated 
The  whole  thing,  each  man  agreed  with  his  neigh- 
bor. — 

The  devil  laekt  sense : had  he  thought  for  a second 
He  would  have  first  with  his  audience  reckon’d. 

\ne  boras  and  goes.  A puzzled  silence  falls  over  the 
people. 


SCENE  V] 


PEER  GYNT 


199 


SCENE  FIVE 

Whitswn  Eve.  In  the  heart  of  the  forest.  Far  away, 
in  a clearing,  is  a hut  with  reindeer  horns  on  the  gable. 

Peer  Gynt  is  creeping  among  the  undergrowth, 
gathering  wild  onions. 

PEER  GYNT 

Here  is  one  standpoint.  What  is  the  next  to  swing 
to?  — 

One  should  prove  all  things,  and  then  the  best  cling 
to. 

Well,  so  I have  — away  from  Cæsar 

And  downwards  as  far  as  from  Nebuchadnezzar. 

So  I ’ve  had,  after  all,  to  go  through  Bible  history.  — 
The  old  boy ’s  return’d  to  his  mother.  — I ’ve  misst 
her,  aye, 

As  it ’s  writ,  Born  of  earth,  thou  art  earth’s  child 
still. 

The  main  thing  in  life  is  one’s  belly  to  fill. 

Fill  it  with  onions  ! That ’s  precious  poor  faring  — 
I ’ll  be  cunning  and  try  my  hand  at  snaring. 

Water ’s  here  in  the  beck ; so  I shan’t  suffer  thirst, 
And,  after  all,  over  the  beasts  I am  first. 

When  it ’s  my  time  to  die,  as  it  one  day  will  be  — 

I shall  creep  in  under  a wind-fallen  tree ; 

Like  the  bear,  I ’ll  heap  up  the  leaves  for  a cover, 
And  scrape  on  the  bark  in  big  letters,  over 
The  place  where  I am:  Here  Peer  Gynt  lies,  a 
Good  sort,  o’er  all  the  other  beasts  Kaiser.  — 
Kaiser?  ( Laughs  inwardly ) 

Old  cuckoo  of  soothsaying!  You 
Are  n’t  Kaiser;  you  ’re  an  onion.  See  what  I ’ll  do  ! 


200 


PEER  GYNT 


[act  V 


I am  going  to  peel  you  now,  my  good  Peer ! 

You  won’t  escape  either  by  howl  or  pray’r. 

( Takes  an  onion  and  strips  off  one  coat  after 
another) 

There  lies,  in  tatters,  the  outermost  coat: 

’T  is  the  ship-wreckt  man  clinging  on  to  the  boat. 
Here ’s  the  passenger-layer,  scanty  and  thin  — 

Yet  to  taste  there ’s  a smack  of  Peer  Gynt  therein. 
The  gold-digger  ego ’s  the  next  thereunder ; 

Its  juice  has  gone  — or  — was  there  any,  I wonder? 
This  one  with  hard  skin  and  coarse  in  the  grain 
Is  the  old  Hudson-Bay  and  seal-hunter  strain. 

The  next ’s  like  a crown  — O ! thanks,  right  away 
We  will  throw  that  without  further  delay. 

Here ’s  the  archaeologist,  short,  energetic. 

And  here  fresh  and  juicy ’s  the  ego  prophetic. 

It  stinks,  as  the  Scripture  has  it,  of  lies, 

Enough  to  bring  tears  to  an  honest  man’s  eyes. 

This  layer,  that ’s  roll’d  so  softly  together, 

Is  the  gentleman  living  at  ease  in  fair  weather. 

The  next  one  seems  sick.  It  has  odd  black  figures  — 
Black  can  denote  both  parsons  and  niggers. 

( Pulls  off  several  at  once) 

What  a vast  number  of  swathings  are  here! 

Where ’s  the  kernel?  Won’t  it  ever  appear? 

( Pulls  the  whole  onion  to  bits) 

No  ! I ’m  blest  if  it  will ! To  the  innermost  centre 
It ’s  all  swathings  — each  less  as  the  deeper  I 
enter.  — 

Nature  is  witty!  ( Throws  the  bits  away) 

Brooding  thoughts  to  hell  tumble ! 
If  one  thinks  overmuch,  one  is  apt  to  stumble. 

Well,  I can  laugh  at  the  danger,  undaunted; 


SCENE  v] 


PEER  GYNT 


201 


Eor  I,  on  all  fours  here,  am  firmly  planted. 
(Scratches  the  back  of  his  head ) 

How  the  whole  odd  affair  the  spirit  amazes ! 

Life  uses  fairy-gold,  as  the  phrase  is. 

If  you  snatch  at  the  coin,  hey ! presto ’s  the  call, 
And  you  grasp  dead  leaves  only  — or  nothing  at  all. 
(He  has  come  near  to  the  hut ; he  catches  sight  of  it 
and  starts') 

This  hut?  On  the  heath ! Ha!  (Rubs  his  eyes) 

It  seems  as  though 

This  very  same  building  I used  to  know.  — 

The  reindeer-skull,  spreading  there  over  the  gable  — ! 
A mermaid,  shaped  like  a fish  from  the  navel  — ! 
Lies ! There ’s  no  mermaid ! But  nails,  and  a lock  — 
Bars,  to  keep  out  the  hobgoblin-thoughts  that 
knock  — ! 

Solveig  (singing  in  the  hut) 

For  Whitsun  all  has  been  ready  since  noon. 

Dearest  lad  of  mine,  far  away,  far  — 

Comest  thou  soon? 

Is  thy  burden  smarting? 

Take  time ; for,  oh, 

I ’ll  wait ; at  parting 
I promised  thee  so. 

peer  gynt  (rises,  quiet  and  deadly  pale) 

One  who ’s  remember’d  — and  one,  who ’s  forgot. 
One  who ’s  squander’d  — and  one  who ’s  treasured 
for  ever. 

O,  zeal ! — And  the  game  can  be  play’d  again  — 
never ! 

O,  dread ! — My  Empire  was  here  in  this  spot ! 
(Runs  off  along  the  wood  path) 


202 


PEER  GYNT 


[act  V 


SCENE  SIX 

Night.  A heath  with  firs.  A forest-fire  has  been 
raging.  Charred  tree  trunks  stretching  for  miles. 
White  mists  here  and  there  clinging  to  the  earth. 
Peer  Gynt  is  running  over  the  heath. 

PEER  GYNT 

Ashes,  fog-scud,  dust  wind-driven  — 

Here ’s  enough  for  building  given ! 

Stench  and  rottenness  within 
The  whited  sepulchre  of  sin. 

Still-born  knowledge,  dreams,  romances 
Laid  the  pyramid’s  foundation ; 

So  proceeds  the  work’s  creation, 

Step  on  step  of  lying  fancies. 

Zeal  avoided,  shunn’d  repentance. 

Flaunt  on  top,  a scutcheon  naked ; 

Hark!  The  trump  of  doom  their  sentence! 

Petrus  Gyntus  Cæsar  fecit!  ( Listens ) 

What  is  that  like  children’s  weeping? 

Weeping,  but  half-way  to  song.  — 

At  my  feet  are  thread-balls  creeping  — ! 

( Kicks  at  them ) 

Off ! And  cease  my  path  to  throng ! 
the  thread-balls  {on  the  ground) 

Thoughts  are  we; 

Thou  shouldst  have  thought  us ; 

Feet  to  flee 

Thou  shouldst  have  brought  us  ! 
peer  gytnt  ( going  roundabout) 

I have  given  life  to  one ; — 

He  was  crook-legg’d,  could  n’t  run ! 


SCENE  VI ] 


PEER  GYNT 


203 


THE  THREAD-BALLS 

We  should  have  risen 
Like  voices  quivering  — 

We  creep  here,  in  prison, 

Like  thread-balls  shivering. 
peer  gynt  (stumbling} 

Thread-ball ! Oh ! you  rascal,  damn  you ! 

Trip  me,  father  as  I am?  You  — ! ( Flees  away ) 
withered  leaves  {flying  before  the  wind ) 

We  are  a clarion; 

Thou  shouldst  have  been  sounding  us ! 
While  thou  didst  tarry,  on 
Crept  Death  confounding  us. 

Here ’s  the  worm’s  bite  on  us, 

Our  curves  dissecting; 

No  sun  will  light  on  us, 

Sweet  fruits  protecting. 
peer  gynt 

Not  in  vain  your  life’s  enduring; 

Lie  you  still ; you  ’ll  save  manuring. 
a singing  in  the  air 

We  are  a song; 

Thou  shouldst  have  sung  us ! — 

Too  long!  Too  long 

Thou  has  warpt  and  wrung  us. 

In  thy  heart’s  hollow 

We ’ve  been  lying  and  waiting; 

No  word  came,  creating. 

We  ’re  poison  to  swallow! 

PEER  GYNT 

Poison  you,  you  stupid  lines ! 

Had  I time  for  verse  and  whines? 

( Tries  a short  cut ) 


204 


PEER  GYNT 


[act  V 


dewdrops  ( dripping  from  the  branches ) 

We  are  tears 
Unshed,  unanguisht. 

Sharp-wounding  ice-spears 
We  could  have  vanquish!. 

Now  the  spears  stick  in 
The  breast  we ’d  be  quick  in; 

The  wound  is  mended 
Our  pow’r  is  ended. 

PEER  GYNT 

Thanks : in  the  Ronde  my  tears  started  — 

All  the  same  my  tail-part  smarted! 

BROKEN  STRAWS 

We  are  deeds ; 

Thou  shouldst  have  endeavor’d  us ; 
Doubt,  with  his  weeds, 

Has  strangled  and  sever’d  us. 

On  the  Ultimate  Day,  ah ! 

We  ’ll  come  in  a crew 
And  all  we  will  say,  ah  — 

Then  woe  to  you ! 

PEER  GYNT 

Shabby  tricks  these,  as  I live! 

Blame  me  for  what ’s  negative?  ( Hastens  away ) 
ase’s  voice  ( far  away ) 

Fie,  what  a rush,  boy! 

You  ’re  oversetting  me ! 

Here  in  the  slush,  boy  — 

Sadly  it ’s  wetting  me.  — 

Take  that  turn  instead,  }rou  — ! 

Peer,  where ’s  the  castle? 

The  Fiend  has  misled  }7ou 
By  the  stick  with  the  tassel ! 


SCENE  vn] 


PEER  GYNT 


205 


PEER  GYNT 

Fast  away  you  ’d  best  be  tearing! 

If  the  devil’s  sins  you  ’re  bearing, 

On  the  hillside  you  ’ll  fall  prone ; 

Hard  enough,  to  bear  one’s  own.  ( Runs  off) 

SCENE  SEVEN 
Another  part  of  the  heath. 

PEER  GYNT  ( sings ) 

A sexton!  A sexton!  Where  are  the  dogs  staying? 
A song  from  brazen  precentor  mouths  braying; 
Around  your  hat-brim  a mourning-band  deep ; 

I have  many  dead ; I must  see  them  asleep ! 

[ The  Button-M older,  with  a box  of  tools  and  a large 
casting-ladle,  comes  from  a side-path. 

THE  BUTTON-MOLDER 

Well  met,  old  gaffer! 

PEER  GYNT 

Good  evening,  friend ! 

BUTTON-MOLDER 

The  man ’s  in  a hurry.  Where  does  he  wend? 

PEER  GYNT 

To  a wake. 

BUTTON-MOLDER 

Indeed?  My  eyes  aren’t  what  they 

were  — 

Excuse  me  — your  name  does  n’t  chance  to  be  Peer? 

PEER  GYNT 

Peer  Gynt,  as  they  say. 

BUTTON-MOLDER 

That ’s  luck,  all  right ; 

It ’s  precisely  Peer  Gynt  I am  sent  for  to-night. 


206 


PEER  GYNT 


[act  V 


PEER  GYNT 

You  ’re  sent  for?  What  would  you? 

BUTTON-MOLDER 


You  see  what  this  is, 

I ’m  a button-molder.  You  must  go  into  this. 

PEER  GYNT 

In  the  ladle?  What  for? 

BUTTON-MOLDER 

There  you  must  be  melted. 


PEER  GYNT 

Melt ? 

BUTTON-MOLDER 

It ’s  empty,  and  clean  as  if ’t  were  new  smelted. 
Your  grave ’s  dug,  your  coffin  is  now  on  the  way. 

In  your  body  the  worms’  feast  furious  and  faster 
Can  grow  — but  I ’ve  orders,  without  delay 
To  fetch  in  your  soul,  on  behalf  of  Master. 

PEER  GYNT 

It  can’t  be ! Like  this  without  any  warning ! 

BUTTON-MOLDER 

It ’s  an  old  custom,  when  a man’s  buried  or  born,  in 
Strict  secret  to  settle  the  date  of  the  function; 

And  the  guest  of  honor  has  no  injunction. 

PEER  GYNT 

Yes,  that ’s  true.  I ’m  dizzy.  My  thoughts  seem  to 
smolder. 

You  are  then 

BUTTON-MOLDER 

I told  you  — a button-molder. 


PEER  GYNT 

I see ! The  pet  child  has  nicknames  to  go  by. 

So,  Peer,  it ’s  there,  that  you  must  get  the  throw-by ! 
But,  my  good  man,  ’t  is  monstrous  unfair,  yes  it  is ! 


SCENE  vn] 


PEER  GYNT 


207 


I ’m  sure  I deserve  gentler  treatment  than  this ; 
Although  you  may  n’t  think  it,  I ’m  not  a bad 
chap  — 

I ’ve  done  not  a little  good  here ; mayhap, 

At  the  worst  I ’m  a bungler,  a sort  of  beginner  — 
But  certainly  not  a singular  sinner. 

BUTTON-MOLDER 

That ’s  the  rub,  my  good  man ; all  the  trouble  is 
thence ; 

You  ’re  no  sinner  at  all  in  the  higher  sense ; 

So  you,  all  the  torture-pangs  unpaid,  ’ll 
Come,  like  the  rest,  to  the  casting-ladle. 

PEER  GYNT 

Ladle  or  sulphur  pit  — what ’s  in  a name? 

Spruce-ale  or  swipes,  each  is  beer  just  the  same. 

Go ! Satan ! 

BUTTON-MOLDER 

You  can’t  be  so  rude  as  to  judge 
For  horse-hooves  the  two  feet  on  which  I trudge? 

PEER  GYNT 

On  horse-hooves  or  fox’s  claws  — get  out ; 

And  take  good  care  what  you  are  about! 

BUTTON-MOLDER 

My  friend,  you  are  under  a great  delusion. 

To  save  time  — we  ’re  both  in  a hurry  to  go  — 

I ’ll  give  reasons  enough  to  clear  up  the  confusion. 
You  have,  your  own  mouth  has  just  told  me  so, 
Never  practised  the  so-called  strenuous  sinning  — 
Scarce  middling,  even 

PEER  GYNT 


To  talk  reasonably 


Ah,  now  you  ’re  beginning 


208 


PEER  GYNT 


[act  V 


BUTTON-MOLDER 

Wait  just  a bit; 

“ Virtuous  ” were  a word  that  would  hardly  fit 

PEER  GYNT 

Well,  that  I have  never  laid  claim  to  have  been. 

BUTTON-MOLDER 

You  ’re  but  so-so  then,  betwixt  and  between. 

A sinner  of  really  striking  style 

We  can  only  meet  nowadays  once  in  a while ; 

It  needs  more  than  merely  to  tramp  in  the  mire; 

A sin  is  compounded  of  keenness  and  fire. 

PEER  GYNT 

Yes ; you  ’re  right  enough  there ; what  you  say  is 
quite  true ; 

Like  the  Berserkers,  one  must  lay  on  and  go  through. 

BUTTON-MOLDER 

On  the  other  hand,  friend,  you  took  your  sin  lightly. 

PEER  GYNT 

Only  outwardly,  friend,  I was  splasht  with  mud 
slightly. 

BUTTON-MOLDER 

Now  we  ’ll  soon  agree.  The  sulphur  pit  clearly 
Is  not  for  you,  who  in  mire  dabbled  merely 

PEER  GYNT 

And,  in  consequence,  friend,  I can  go  on  as  I came. 

BUTTON-MOLDER 

No,  in  consequence,  friend,  you  for  melting  I claim. 

PEER  GYNT 

What  are  these  tricks  you ’ve  hit  upon,  pray, 

At  home,  while  in  foreign  parts  I ’ve  been  away? 

BUTTON-MOLDER 

The  custom  has  lasted  since  Adam  was  weary,  all 
That  it ’s  meant  for ’s  to  save  good  material. 


209 


scene  vii ] PEER  GYNT 

You  must  know  — you ’ve  workt  at  it  — time  and 
again 

A casting  will  turn  out  — well,  trash,  to  be  plain ; 
Sometimes  the  loop  was  n’t  found  on  a button. 
What  did  you  do,  then? 

PEER  GYNT 

I flung  it  away. 

BUTTON-MOLDER 

Ah!  ’twas  known  John  Gynt  was  never  a glutton 
To  save,  while  his  purse  had  aught  in  it.  Eh? 

But  Master ’s  one  of  the  thriftier  men ; 

That ’s  why  he ’s  prosperous.  He ’d  never  fling 
Away  as  rubbish  the  least  little  thing 
If,  as  raw  material,  ’t  would  serve  again. 

You  were  meant  for  a button,  a shining  token, 

On  the  coat  of  the  world ; but  your  loop  was  broken, 
And  so  to  the  waste-box  you  must  pass. 

And,  as  they  say,  be  merged  in  the  mass. 

PEER  GYNT 

You  surely  don’t  mean  to  mix  up  me 
With  Dick  and  Tom  into  something  new? 

BUTTON-MOLDER 

That ’s  just  what  I mean.  That  your  fate  will  be. 
We ’ve  done  it  already  to  folk  not  a few. 

They  do  just  the  same  with  coin  at  the  Mint, 

If  the  coins,  through  long  usage,  have  lost  their 
imprint. 

PEER  GYNT 

But  these  are  the  ways  of  a miserly  screw! 

My  dear  good  friend,  let  me  go  free ; now  do  — 

A loopless  button,  a worn-out  mite, 

The  loss  — to  a man  like  your  master  — how  slight ! 


210 


PEER  GYNT 


[act  V 


BUTTON-MOLDER 

O ! the  spirit  is  in  you : what  thence  we  will  get,  ’ll 
Give  you  your  value  as  so  much  metal. 

PEER  GYNT 

No!  I say!  No!  I will  fight  — do  you  worst  — 
Fight  with  teeth  and  claws ! Sooner  aught  else  first ! 

BUTTON-MOLDER 

What  else?  If  you ’d  only  use  sense,  ’t  would  be  right 
enough. 

For  heav’n,  we  agreed,  you  ’re  not  nearly  light 
enough 

PEER  GYNT 

I am  easy  contented;  I don’t  aim  so  high; 

But  I won’t  lose  myself,  not  a jot  of  what ’s  “ I.” 
Have  me  judged  by  the  law,  as  the  old-fashioned 
way  is ! 

Give  me  Him  with  the  Hoof,  for  a time  — if  my 
stay  is 

A hundred  years,  at  the  worst;  still,  there 
Is  something  a man  can  surely  bear; 

The  torture ’s  just  moral ; and  that  should  prevent  us 
From  thinking  it  can  be  so  mighty  momentous. 

It  is,  as  ’t  is  written,  a state  of  transition, 

As  the  fox  said  — one  waits,  and  then,  as  a vision, 
The  hour  of  redemption ! One  lives  withdrawn, 

And  hopes  for  the  happier  day  to  dawn.  — 

But  this  other  — to  have  to  mix  and  float 
In  some  outsider’s  carcass,  a midge,  a mote  — 

This  ladle-business,  this  “ Of  Gynt  no  more!  ” 

This  from  my  innermost  soul  I abhor! 

BUTTON-MOLDER 

But  surely  you  need  n’t,  my  excellent  Peer, 

Get  so  very  warm  over  so  small  an  affair? 


SCENE  Vil] 


PEER  GYNT 


211 


Yourself  you  have  ruever  been,  never  — so  why 
Does  it  matter  at  all,  if  completely  you  die? 

PEEK  GYNT 

Have  I not  been?  — I could  laugh,  very  nearly! 
Peer  Gynt  then  has  been  something  else,  I suppose ! 
In  the  dark,  button-molder,  you  ’re  judging,  clearly. 
Could  you  see  where  my  innermost  being  grows, 

You  would  find  only  Peer,  yes,  nothing  but  Peer, 
Nothing  else  at  all  and  nothing  more ’s  there. 

BUTTON-MOLDER 

It ’s  impossible.  I have  my  orders  here. 

“ Peer  Gynt  thou  shalt  fetch  ” — see,  it ’s  written 
clear  — 

“ He ’s  defied  his  life’s  design  from  his  cradle. 

Like  other  spoilt  goods,  put  him  into  the  ladle.” 

PEER  GYNT 

What  nonsense ! Some  other  they  ’re  thinking  on. 

Is  it  really  Peer?  Not  Rasmus  or  John? 

BUTTON-MOLDER 

I melted  them  up  many  years  ago. 

Don’t  waste  time  now ; but  come  quietly  ! So  ! 

PEER  GYNT 

No ! I ’m  damn’d  if  I do  ! Would  n’t  it  be  splendid 
If  we  heard  to-morrow  some  one  else  was  intended ! 
My  good  man,  you  really  had  better  take  care ! 

The  responsibility ’s  heavy  to  bear 

BUTTON-MOLDER 

I have  it  in  writing 

PEER  GYNT 

A respite  I ask! 

BUTTON-MOLDER 

What  good  will  that  do  you? 


212 


PEER  GYNT 


[act  V 


PEER  GYNT 

I ’ll  make  it  mj  task 

To  find  proofs  I have  been  myself,  all  of  my  life; 
And  thg,t  is  the  issue  on  which  we  ’re  at  strife. 

BUTTON-MOLDER 

Find  proofs?  But  how? 

PEER  GYNT 

By  vouchers  and  witnesses. 

BITTTON-MOLDER 

I fear  Master  won’t  take  them  as  signs  of  what  fit- 
ness is. 

PEER  GYNT 

O!  Enough  for  the  day  the  day’s  evil  things  call! 
Just  loan  me  myself,  my  dear  man,  that ’s  all; 

I ’ll  be  back  soon.  One ’s  birth  there  is  no  repeating 
And  one  clings  to  one’s  self,  as  created,  you  know. 
Come ; are  we  agreed  ? 

BUTTON-MOLDER 

Well;  be  it  so. 

But  remember,  at  the  nest  cross-way  is  our  meeting. 
[ Peer  Gynt  runs  off. 

SCENE  EIGHT 

A further  point  on  the  heath. 

peer  gynt  ( running  hard) 

Time  is  money,  as  the  Scripture  says  for  our  learning. 
If  I only  knew  where  the  cross-ways  are  — 

They  may  be  near,  and  they  may  be  far. 

The  earth,  like  hot  iron,  beneath  me  is  burning. 

A witness!  A witness!  Oh,  where  shall  I find  one? 
It ’s  unthinkable  here,  on  this  heath.  ’T  was  de- 
signed on 


SCENE  Vill] 


PEER  GYNT 


213 


The  stupidest  system,  this  world!  Where  a right 
Has  got  to  be  proved,  though  it ’s  plain  as  the  light ! 
[An  Old  Crooked  Man,  with  a stick  in  his  hand  and 
hag  on  his  back,  trudges  in  front  of  him. 

THE  OLD  MAN  ( Stopping ) 

Dear,  kind  sir  — spare  a penny  to  a homeless  soul ! 

PEEK  GYNT 

I ’m  sorry,  I have  n’t  a copper,  no,  not  one 

THE  OLD  MAN 

Prince  Peer!  That  we  meet  again,  as  the  years 
roll 

PEER  GYNT 

Who  are  you? 

THE  OLD  MAN 

Is  the  Old  Man  of  the  Ronde  forgotten? 

PEEK  GYNT 

You  are  never ? 

THE  OLD  MAN 

The  Dovre-King,  yes ; just  that! 

PEER  GYNT 

The  Dovre-King?  Really?  The  Dovre-King ! What! 

THE  OLD  MAN 

Oh,  I’m  down  on  my  luck!  — Still  hard  fate 
pushes 

PEER  GYNT 

Ruin’d? 

THE  OLD  MAN 

Plunder’d  — stript  bare  of  all. 

And  here,  like  a starving  wolf,  I must  crawl. 

PEER  GYNT 

Hurra ! Such  witness  don’t  grow  on  the  bushes ! 

THE  OLD  MAN 

The  Prince,  too,  has  got  gray  since  we  met. 


214 


PEER  GYNT 


[act  V 


PEER  GYNT 

Time’s  scars ! 

My  dear  father-in-law,  he  gnaws  and  wears. 

Well;  that’s  enough  of  our  private  affairs  — 

And,  above  all,  let’s  have  no  family  jars. 

I was  then  but  a madcap 

THE  OLD  MAN 

Of  course ; and  it ’s  true 
The  Prince  was  then  young.  And  then  what  won’t 
one  do? 

But  the  Prince  was  wise  in  rejecting  his  bride; 

She  would  always  trouble  and  shame  have  been  giving ! 
For  since  then  she  went  to  the  bad  at  a stride 

PEER  GYNT 

Dear  me ! 

THE  OLD  MAN 

And  has  been  most  abandon’d ; beside 
Just  think  — at  the  present  with  Trond  she  is  living. 

PEER  GYNT 

What  Trond? 

THE  OLD  MAN 

Of  the  Valfjeld. 

PEER  GYNT 

Aha  ? ’T  was  he 

That  the  farm-lasses  left  to  come  courting  me. 

THE  OLD  MAN 

But  my  grandson  has  grown  up  tall  and  stout, 

And  has  flourishing  children  all  over  the  land 

PEER  GYNT 

Please,  my  dear  man,  this  chatter  we’ll  do  without; 
I ’ve  got  a quite  different  problem  in  hand.  — 

I ’ve  got  into  rather  an  awkward  position  — 

I have  need  of  a voucher  or  witness  to  swear; 


SCENE  vm] 


PEER  GYNT 


215 


And  you,  father-in-law,  could  best  help  me  there. 
And  I ’d  give  you  a tip,  say,  in  recognition 

THE  OLD  MAN 

Really?  Can  I come  to  the  Prince’s  aid? 

And  with  a character  I ’ll  be  repaid? 

PEER  GYNT 

Most  gladly.  I have  n’t  much  cash  in  pocket, 

And  so  am  compell’d  severely  to  dock  it. 

Now  hear  what ’s  the  trouble.  No  doubt  you  recall 
The  night  when,  a suitor,  I enter’d  your  hall  — — 

THE  OLD  MAN 

Of  course,  my  Lord  Prince ! 

PEER  GYNT 

But  pray  do  not  “ prince  ” me ! 
But  no  matter.  By  force  you  wisht  to  convince  me ; 
By  a slit  in  the  lens  you ’d  have  biasst  my  sight, 
Would  have  made  of  Peer  Gynt  a troll  of  the  night: 
What  did  I do?  Protested  with  might  and  main, 
Swore  I ’d  stand  on  my  own  till  the  end  of  the  story ; 
And  so  I renounced  Love,  Power  and  Glory, 

And  all  this  that  I might  myself  retain. 

To  this  fact,  you  see,  you  must  swear  ’fore  the 

judge 

THE  OLD  MAN 

No,  I ’m  blest  if  I can ! 

PEER  GYNT 

Why,  what  is  this  fudge? 

THE  OLD  MAN 

Why,  surely  to  lie  you  would  never  compel  me? 

Did  n’t  you  put  on  the  troll-breeches,  tell  me? 

And  tasted  the  mead ? 


PEER  GYNT 


You  lured  me  persuasively; 


216 


PEER  GYNT 


[act  v 


But  the  ultimate  test  I declined  unevasively, 

And  it ’s  that  your  idea  of  a man  depends  on. 

A poem  is  judg’d  by  the  note  which  it  ends  on. 

THE  OLD  MAN 

But  it  ended,  Peer,  just  in  the  contrary  way. 

PEER  GYNT 

What ’s  this  rot  ? 

THE  OLD  MAN 

When  you  left  the  Ronde,  that  day 
My  motto  upon  your  escutcheon  was  smitten. 

PEER  GYNT 

What  motto? 

THE  OLD  MAN 

The  sundering  word  had  been  written. 


PEER  GYNT 

The  word? 

THE  OLD  MAN 

That  parts  man  and  the  ways  thereof 
From  troll-folk:  Troll,  to  thyself  be  enough! 
peer  gynt  ( recoils  a step ) 

Enough ! 

THE  OLD  MAN 

And  you ’ve  lived  with  all  your  might 
Right  up  to  the  word  ever  since  that  night. 

PEER  GYNT 

I have ! Peer  Gynt ! 
the  old  man  ( weeping ) 

It ’s  monstrous  ingratitude ! 
You’ve  lived  as  a troll,  but  disguised  your  true 
attitude. 

Through  the  word  that  I taught  you,  you ’ve  with 
dexterity 

Swung  yourself  into  a state  of  prosperity; 


SCENE  vm] 


PEER  GYNT 


217 


And  now  you  must  turn  up  your  nose  despising 
Me  and  the  word,  to  which  you  owe  your  rising. 

PEER  GYNT 

Enough ! A hill-troll ! An  egoist ! Oh ! 

This  must  be  all  rubbish ; it  is,  I know ! 
the  old  man  ( pulls  out  a bundle  of  old  newspapers) 
You  think,  p’raps,  the  Press  not  much  after  our 
ways  is? 

Just  wait ; here  I ’ll  show  you  in  red  and  black 
How  the  Bloksberg  Post  has  sung  your  praises ; 
Here’s  the  Haklefjeld  Journal  on  the  same  tack 
From  the  year  you  left  home  to  the  day  you  came 
back.  — 

Won’t  you  read  them,  Peer?  Do,  if  you  feel  inclined. 
Here ’s  a leader  now;  “ Stallion-hoof,”  it ’s  signed. 
And  here  “ Troll  Nationalism  ” ’s  another. 

It  urges  a truth  that  cannot  be  denied, 

That ’s  it  no  use  for  horns  and  tail  making  a bother, 
So  long  as  one  has  but  a bit  of  the  hide. 

“ Our  enough,”  it  concludes,  “ is  always  ample 
To  give  men  trolldom’s  mark,”  and  gives  you  as 
example. 

PEER  GYNT 

A hill-troll?  I! 

THE  OLD  MAN 

The  matter ’s  clear  — quite. 

PEER  GYNT 

And  I might  have  remain’d  where  I was  that  night? 
Might  have  stay’d  in  the  Ronde  snug,  and  in  slumber  ? 
Spared  my  trouble  and  toil  and  of  shoes  — what  a 
number ! 

Peer  Gynt  — a troll ! — It ’s  rubbish ! Fudge ! I ! ! 
Here ’s  a ha’penny  to  buy  you  tobacco.  Good-bye ! 


218 


PEER  GYNT 


[act  V 


THE  OLD  MAN 

No,  Prince  Peer! 

PEER  GYNT 

Let  go ! You  ’re  lunatic 
Or  in  second  childhood.  To  hospital ! Quick ! 

THE  OLD  MAN 

O!  that ’s  just  what  I want  and  have  hitherto  misst. 
My  great-grandchildren,  who  are  everywhere  staying 
Have  become  most  important,  as  I was  saying; 

And  they  say  that  it ’s  only  in  books  I exist. 

The  saw  has  it,  Unkindest  of  all  are  relations ; 

The  truth  of  that  saying  I sorely  bewail, 

It ’s  cruel  to  count  as  a fable,  a tale 

PEER  GYNT 

My  dear  man,  there  are  others  bear  these  imputations. 

THE  OLD  MAN 

And  ourselves  we ’ve  no  Mutual  Aid  Society, 

No  poor-box,  no  bank  to  put  pennies  by  — 

To  the  Rondé  these  things  would  be  in  contrariety. 

PEER  GYNT 

Yes,  that  damn’d  “ To  thyself  be  enough  ” was  the 
cry! 

THE  OLD  MAN 

With  the  Prince  the  word  is  no  source  of  complaining. 
And  if  he  could  but  contrive  — all  my  days  it 

PEER  GYNT 

j\iy  man,  it ’s  a wrong  scent  on  which  you  are  strain- 

• i ng; 

I ’m  right  on  my  uppers  myself,  as  they  phrase  it 

THE  OLD  MAN 

You  don’t  mean  it?  The  Prince  — a beggar?  All 
gone  ? 


SCENE  XX] 


PEER  GYNT 


219 


PEER  GYNT 

Completely.  The  Pi’ince’s  ego ’s  in  pawn. 

And  you ’ve  done  it  all,  you  damn’d  trolls ! You! 
One  sees,  what  bad  company  bi’ings  a man  to. 

THE  OED  MAN 

So  my  hope ’s  tumbled  down  again  right  off  its  tree ! 
At  a 

Shuffle  I ’d  best  go  to  town  now.  Good-bye ! 

PEER  GYNT 

What  will  you  do  there? 

THE  OED  MAN 

I ’ll  go  to  the  theatre, 
For  national  plays  there ’s  a newspaper  cry  — — 

PEER  GYNT 

Good  luck  to  your  journey;  and  greet  them  from  me. 
I ’ll  come  the  same  way,  if  I can  but  get  free, 

With  a farce,  mad  and  deep ; they  shall  hear  it  one 
Sunday, 

And  it ’s  title  is  “ Sic  transit  gloria  mundi!  ” 

\He  runs  along  the  road ; the  Old  Man  of  the  Dovre 
shouts  after  him. 

SCENE  NINE 

At  a cross-way. 

PEER  GYNT 

There ’s  a tussle  now,  Peer,  as  you ’ve  never  yet 
known ! 

That  Dovrish  Enough  has  judged  you  its  own. 

It’s  a wreck;  so  to  float  with  the  jetsom  endeavor. 
Or  else  — but  he  flung  in  the  rubbish-heap  — never ! 
BTJTTON-MOLDER  ( at  the  parting  of  the  ways ) 

Well,  Peer,  have  you  vouchers  now  to  your  ci*edit? 


220 


PEER  GYNT 


[act  V 


PEER  GYNT 

Oh ! Is  this  the  cross-way?  Well,  that  is  quick  work ! 

BUTTON-MOLDER 

In  your  face,  as  a sign-post,  the  letters  that  lurk 
On  the  paper  I see,  before  I have  read  it. 

PEER  GYNT 

I got  tired  of  the  run  — one  might  lose  one’s 
way 

BUTTON-MOLDER 

Yes;  and  besides,  what’s  it  lead  to?  Eh? 

PEER  GYNT 

True  enough ; in  the  wood  and  at  night  to  steer 

BUTTON-MOLDER 

There  an  old  man  trudges,  though.  Let ’s  call  him 
here  ? 

PEER  GYNT 

No;  let  him  go.  He’s  quite  drunk,  you  see! 

BUTTON-MOLDER 

Still  he  might  perhaps 

PEER  GYNT 

Hush ; no  — let  him  be ! 

BUTTON-MOLDER 

Well,  shall  we  start? 

PEER  GYNT 

One  question  merely. 

“ To  be  one  self,”  what ’s  it  at  bottom  mean  ? 

BUTTON-MOLDER 

A singular  question ! An  odd  one  to  glean 
From  the  mouth  of  a man 

PEER  GYNT 

Answer  shortly  and  clearly. 

BUTTON-MOLDER 

To  be  oneself  is : oneself  to  slay. 


SCENE  IX] 


PEER  GYNT 


221 


But  that  answer  is  no  doubt  thrown  away  on  you? 
And  so  we  ’ll  say : everywhere  to  display, 

Like  a sign-board,  Master ’s  meaning  upon  you. 

PEER  GYNT 

But  suppose  that  a man’s  never  come  to  know 
What  Master  meant  with  him? 

BUTTON-MOLDER 

Then  he  must  guess  it. 

PEER  GYNT 

But  how  often  one’s  guesses  go  wrong,  and  so 
In  the  midst  of  a life  troubled  waters  oppress  it. 

BUTTON-MOLDER 

That ’s  true,  Peer  Gynt : the  lack  of  good  guesses 
Is  the  best  bait  with  which  the  Hoofed  One  his  hook 
dresses. 

PEER  GYNT 

This  is  really  a terribly  tangled  affair.  — 

Now  that  I ’ve  been  myself,  I no  longer  declare  — 
It  might  n’t  be  easy  to  get  the  fact  proved. 

So  I ’ll  count  that  as  lost.  But  just  now,  as  I 
wandered 

Over  the  heath  here  alone,  and  pondered, 

My  shoe  pincht  me,  my  conscience  I felt  it,  was  moved ; 
I said  to  myself : After  all,  you  ’re  a sinner 

BUTTON-MOLDER 

You  appear  to  want  over  again  to  begin  a 

PEER  GYNT 

No;  a great  one,  I mean,  of  vigor  and  fire; 

Not  only  in  deed,  but  in  word  and  desire, 

Abroad  I have  lived  like  a desperate  beast. 

BUTTON-MOLDER 

It  may  be;  you ’ve  a list  to  prove  what  you  say? 


222 


PEER  GYNT 


[act  V 


PEER  GYNT 

Well,  give  me  a respite ; I ’ll  seek  out  a priest, 

And  confess,  and  then  bring  you  his  voucher  straight- 
way. 

BUTTON-MOLDER 

Oh,  if  you  can  bring  me  that,  don’t  fear, 

You  ’ll  escape  the  casting-ladle,  that ’s  clear. 

But  orders,  Peer 

PEER  GYNT 

O ! they  ’re  years  old,  those  papers ! 
They  belong,  no  doubt,  to  a long-past  date; 

I did  once  live  slackly,  indulged  in  the  vapours, 
Played  at  the  prophet,  and  trusted  in  fate. 

Well,  may  I try? 

BUTTON-MOLDER 

But ! 

PEER  GYNT 

My  dear  good  fellow  — 
There ’s  not  much  doing  here  your  resources  to  rally. 
The  air  is  so  bracing,  the  people  get  mellow  — 
Why,  it  adds  an  ell  to  all  of  their  ages. 

Remember,  the  Justedal  parson’s  pages : 

“ It ’s  seldom  that  any  one  dies  in  this  valley.” 

BUTTON-MOLDER 

To  the  next  cross-way ; but  no  more,  not  an  inch,  sir  ! 

PEER  GYNT 

A priest  I must  catch,  though  it  be  with  a pincer. 
( Runs  off) 


SCENE  TEN 

A hillside  with  heather.  The  path  winds  up  along  the 
ridge. 


SCENE  x] 


PEER  GYNT 


223 


PEER  GYNT 

This  may  come  in  useful  for  many  a thing, 

Said  Esben,  as  he  pickt  up  a magpie’s  wing. 

Who ’d  have  said  an  account  of  one’s  sins,  so  late 
On  the  last  night,  could  help  a man  out  of  his  strait? 
It ’s  a ticklish  business  indeed,  and  rash  is 
A move  right  into  the  fire  from  the  ashes  — 

There ’s  a saw  though,  age-long,  and  of  world-wide 
scope, 

That  says : as  long  as  there ’s  life,  there  is  hope. 

[A  lean  person  in  a priest's  cassock,  tucked  in  at  the 
girdle,  and  with  a fowling-net  over  his  shoulder,  comes 
running  along  the  hillside. 

PEER  GYNT 

Who ’s  that?  A priest  with  a fowling-net! 

Hurrah ! I ’m  the  spoilt  child  of  fortune ! Well  met ! 
Herr  Pastor ! The  road ’s  bad,  with  many  a 
hole 

THE  EEAN  ONE 

It  is;  but  what  would  n’t  one  do  for  a soul? 

PEER  GYNT 

Oho ! Then  there ’s  some  one  bound  heavenwards  ? 

THE  LEAN  ONE 

Nay! 

I hope  he  is  taking  a different  way. 

PEER  GYNT 

May  I go  with  you,  Pastor,  where’er ’t  is  you  walk  to? 

THE  LEAN  ONE 

With  pleasure ; I ’m  glad  to  have  some  one  to  talk  to ! 

PEER  GYNT 

There ’s  a thing  on  my  mind 

THE  LEAN  ONE 


Indeed!  Go  ahead! 


224 


PEER  GYNT 


[act  V 


PEER  GYNT 

You  see  here  before  you  a man  who  has  led 
A good  sort  of  life.  All  state-laws  I have  kept ; 
Behind  bolts  and  bars  I have  never  slept; 

Yet,  it  happens  at  times  that  a fellow  stumbles, 
Loses  his  feet 

THE  EEAN  ONE 

Oh ! the  best  have  their  tumbles. 

PEER  GYNT 

Well,  these  trifles,  you  see 

THE  EEAN  ONE 

Only  trifles  ? 

PEER  GYNT 

Yes. 

I have  always  refrained  from  sin  in  excess. 

THE  LEAN  ONE 

Then,  leave  me  in  peace,  my  dear  man,  please ; 

I am  not  what  you  think.  You  ’re  looking  at  these, 
These  fingers  of  mine?  What  do  you  see,  there?  Eh? 

PEER  GYNT 

Nails  in  a remarkable  state  of  advance. 

THE  LEAN  ONE 

And  now?  At  my  feet  you  are  taking  a glance? 
peer  gynt  ( pomting ) 

That’s  a natural  hoof? 

THE  LEAN  ONE 

I trust  so,  anyway. 

peer  gynt  ( raising  his  hat ) 

I ’d  have  sworn  you  were  simply  a priest,  as  you 
drest ; 

And  I find  I ’ve  the  honor  — well,  best  is  best ; 
When  the  hall-door  invites  — don’t  go  to  the  back; 
When  the  king  can  be  met  — bid  the  lackey  go  pack. 


SCENE  x] 


PEER  GYNT 


225 


THE  LEAN  ONE 

Your  hand!  Fi’om  prejudice  you  enjoy  freedom. 

I offer  my  services,  friend,  if  you  need  ’em? 

But  don’t  ask  for  power,  or  money  to  buy  it. 

Were  I to  hang  for ’t,  I could  n’t  supply  it. 

You  would  n’t  believe  of  the  business  — how  slack 
it  is ; 

Trade ’s  dwindling.  The  prospect  — I can’t  say  how 
black  it  is. 

There ’s  no  traffic  in  souls ; one  may  sometimes  wend, 
A stray  one 

PEER  GYNT 

The  race  has  so  specially  raised  itself? 

THE  LEAN  ONE 

No,  indeed;  it  is  shameful  the  way  it’s  debased 
itself  — 

In  a casting-ladle  most  of  them  end. 

PEER  GYNT 

Aha,  yes  — I have  heard  it  alluded  to. 

In  fact ’t  was  the  cause  of  my  coming  to  you. 

THE  LEAN  ONE 

Speak  out ! 

PEER  GYNT 

If  it  is  n’t  an  indiscretion, 

I should  like 

THE  LEAN  ONE 

A harbor  of  refuge?  Eh! 

PEER  GYNT 

You ’ve  precisely  guesst  what  I was  going  to  say. 
The  business  is  slack,  on  your  own  confession, 

So  you  would  n’t  press  home  such  rules  as  exist 
on 


226 


PEER  GYNT 


[act  V 


THE  LEAN  ONE 

But 

PEER  GYNT 

I don’t  ask  for  much;  I would  n’t  insist  on 
Receiving  a salary,  say ; but  I ’d  hope  for 
A treatment  as  friendly  as  things  gave  scope  for. 

THE  LEAN  ONE 

Rooms  heated  ? 

PEER  GYNT 


Not  too  hot ; above  all  these, 
Leave  to  go  out  again  free,  and  in  ease  — 

The  right,  as  the  phrase  is,  to  leave  with  impunity 
If  one  day  there  came  a glad  opportunity. 

THE  LEAN  ONE 

My  dear  friend,  I vow  I ’m  sincerely  sorry ; 

You  can’t  think  how  I have  from  all  the  nations 
People  with  similar  supplications, 

When  they  ’re  leaving  this  scene  of  earthly  worry. 

PEER  GYNT 

But  when  I call  my  career  to  mind, 

I feel  I must  come,  that  I have  a clear  right 

THE  LEAN  ONE 

Only  trifles,  you  said 

PEER  GYNT 


In  a sense,  oh  quite; 

But,  well,  I have  trafBckt  in  slaves,  I find 

THE  LEAN  ONE 

Men  have  traffiekt  in  wills  and  souls  on  conditions 
So  bungling  and  stupid,  they  lost  their  admissions. 

PEER  GYNT 

To  China  I ’ve  shipp’d  many  Bramah  figures. 

THE  LEAN  ONE 

We  laugh  at  such  things.  They  ’re  but  trash  like 
your  niggers. 


SCENE  x] 


PEER  GYNT 


227 


There  are  people  who  ship  off  far  ghastlier  things 
In  sermons,  books,  pictures  — and  them  the  cold 
stings 

Outside  my  door 

PEER  GYNT 

Yes,  but  hear  the  worst  of  it ! 
Once  I went  off  and  set  up  as  a prophet. 

THE  LEAN  ONE 

In  foreign  parts?  Humbug!  The  casting-ladle 
Takes  most  people’s  Sehen  ins  Blaue  in  the  end. 

If  that ’s  all  you  rely  on,  that,  I ’m  afraid,  ’ll 
Never  house  you  with  me,  though  I wish  it  could, 
friend. 

PEER  GYNT 

Well,  hear  this ; in  a ship-wreck  — I clung  to  a 
boat  — 

And : Drowning  men  grasp  at  straws,  some  one ’s 
suggested  — 

And:  To  one  self  one  is  nearest,  some  one  else 
wrote  — 

So  a cook  of  his  life  I half-way  divested. 

■THE  LEAN  ONE 

If  a kitchen-maid  you  had  half-way  divested 
Of  something  else,  I ’d  be  as  much  interested. 

What  sort  of  stuff  is  this  half-way  prate, 

Asking  your  pardon?  In  times  like  the  present 
On  rubbish  like  this  is,  nerveless,  putrescent, 

Who ’d  throw  away  coal  at  its  pi’esent  high  rate? 
There,  don’t  get  enraged ; at  your  sins  I was  girding ; 
Forgive  me  for  being  so  blunt  in  my  wording.  — 
Now,  my  dear  fellow,  put  all  this  out  of  your  head, 
And  get  used  to  the  thought  of  the  fate  that ’s 
awarded  you. 


228  PEER  GYNT  [act  v 

What  would  you  gain  if  I lodged  you  and  boarded 
you? 

Just  think;  you’re  a sensible  man,  when  all’s  said. 
Well,  it ’s  true  you ’d  have  memory,  when  you  were 
dead  — 

But  in  gazing  on  memory’s  land  outspread 
Your  heart  and  your  intellect  both  were  ill  sped ; 
You ’d  have,  as  the  Swedes  say,  but  poor  sport 
afforded  you. 

You  have  nothing  to  smile  or  lift  up  your  voice  over; 
No  cause  for  despair,  and  naught  to  rejoice  over; 
Nothing  to  make  you  hot  or  cold 
Only  a something  to  worry  you  old. 

PEER  GYNT 

It  is  written : it ’s  never  very  much  bother 
To  know  where  the  shoe  pinches  that ’s  worn  by 
another. 

THE  EEAN  ONE 

That’s  true;  I have  — thank  You-know-who  — 
Only  got  need  of  a single  odd  shoe. 

It ’s  lucky  that  shoes  come  up  in  our  talk ; 

It  reminds  me  of  what  I have  got  to  be  at, 

Going  after  a roast,  that  I hope  will  prove  fat; 

So  I can’t  gossip  more,  but  must  on  with  my 
walk 

PEER  GYNT 

And  what  sort  of  sin-diet,  may  I inquire, 

Has  fatten’d  the  man? 

THE  EEAN  ONE 

I hear  people  say 

That  he ’s  been  himself,  by  night  and  by  day ; 

And  that  is  the  principal  thing  we  desire. 


SCENE  x] 


PEER  GYNT 


229 


PEER  GYNT 

Himself?  To  such  folk  then  your  parish  extends? 

THE  LEAN  ONE 

Well,  the  door’s  set  ajar.  You  see,  it  depends  — 
To  be  oneself  — one  in  two  ways  can  attack  it ; 
There ’s  a right  and  a wrong  side  to  every  jacket. 
Quite  lately  in  Paris,  ’t  is  said,  they ’ve  begun 
A way  to  take  portraits  by  help  of  the  sun ; 

You  can  either  have  people  portray’d  as  they  live, 
Or  else  have  a so-called  negative. 

In  these  you ’ve  the  lights  and  the  shadows  inverted, 
And  they  ’re  ugly  in  commonplace  eyes,  ’t  is  asserted ; 
But  for  all  that,  in  them  the  likeness  is  latent, 

And  it  needs  but  your  efforts  to  make  it  patent. 

If  a soul  in  photography  should  have  selected 
The  negative  method  its  life  to  portray, 

The  plate’s  not,  for  that  reason,  entirely  rejected, 
But  simply  to  me  it ’s  given  away. 

Then  I take  it  and  treat  it  to  change  what  is  mutable, 
And  develop  the  picture  by  methods  suitable. 

I steam  and  I dip,  I burn  and  I scour 
With  sulphur  and  other  such  things,  every  hour, 
Till  the  picture  comes,  which  the  photo  should  give; 
That,  namely,  which  people  call  positive. 

But  for  one  who  has  wiped  himself  out,  like  you, 
Sulphur  and  potash  can  nothing  do. 

PEER  GYNT 

And  so  one  must  come  to  you  black  as  a raven 
To  be  made  a white  grouse?  What  name  is  engraven, 
Pray,  on  that  negative  counterfeit 
From  which  you’re  a positive  going  to  get? 

THE  LEAN  ONE 

The  name ’s  Peer  Gynt. 


230 


PEER  GYNT 


[act  V 


PEEK  GYNT 

Peer  Gynt?  Ah!  His! 

Is  Herr  Gynt  himself? 

THE  LEAN  ONE 

Yes,  he  swears  that  he  is. 

PEEK  GYNT 

He ’s  trustworthy,  too,  is  that  same  Herr  Peter. 

THE  LEAN  ONE 

You  know  him,  perhaps? 

PEER  GYNT 

Oh,  just  to  greet  — er, 
One  knows  all  kinds  of  people. 

THE  LEAN  ONE 

I ’ve  no  time  to  trape. 

Where  saw  you  him  last? 

PEEK  GYNT 

It  was  down  by  the  Cape. 

THE  LEAN  ONE 

Di  Buona  Speranza? 

PEER  GYNT 

Yes,  but  he ’s  sailing 
Thence  soon,  unless  my  memory ’s  failing. 

THE  LEAN  ONE 

Then  without  delay  I must  show  my  best  pace. 

I hope  I shall  catch  him  ere  he ’s  left  the  place ! 
The  Cape  I detest;  what  spoils  everything  there  is 
Those  annoying  Stavanger  missionaries. 

{He  rushes  away,  southwards ) 

PEER  GYNT 

The  stupid  dog!  There  he  goes  racing,  head  down, 
Tongue  lolling  out.  Well,  he  ’ll  be  done  brown. 
When  I fool  such  an  ass,  I need  none  to  reward  it. 
He ’s  a nice  sort  of  fellow  to  swagger  and  lord  it ! 


SCENE  x] 


PEER  GYNT 


231 


He  has  got  a fine  lot,  truly,  to  brag  about! 

By  this  trade  he  ’ll  never  get  much  flesh  to  drag 
about ; 

He  ’ll  soon  drop  off  his  perch,  and  with  him  the 
whole  sordid 

Business.  — Ahem ! My  own  seat ’s  scarcely  steady : 
I ’m  expelled  from  the  self-owning  gentry  already. 
(A  shooting  star  is  seen;  he  nods  after  it) 

Greeting  from  Peer  Gynt,  Brother  Starry-flash ! 

To  shine  bright,  at  a gulp  into  nothing  to  crash  — 
( Pulls  himself  together  as  though  in  terror,  and  goes 
deeper  into  the!  mists;  stillness  for  a moment  and 
then  he  cries) 

Is  there  no  one,  no  one  in  all  this  driven  — 

No  one  in  the  abysses,  no  one  in  heaven  — ! 

( Comes  forward  again  further  dozen,  throws  his  hat 
on  the  path,  and  tears  his  hair.  By  degrees  a still- 
ness comes  over  him) 

Then  a soul  can,  so  horribly  poor,  slip  away 
Back  to  nothingness,  into  the  mist  and  the  gray. 

O beautiful  earth,  be  not  angry,  I pray, 

That  for  nothing  I ’ve  trampled  thy  grass  sweet- 
smelling. 

0 beautiful  sun,  thou  hast  squander’d  away 
Thy  glory  of  light  on  a desolate  dwelling, 

To  warm  and  attune  it,  was  none  to  begin  there  — 
The  owner,  they  tell  me,  was  never  within  there. 
Beautiful  sun  and  beautiful  earth, 

You  were  foolish  to  cherish  my  mother  at  birth. 
The  spirit  is  niggard  and  nature  is  lavish, 

And  one’s  life  for  one’s  birth  is  a high  price  to 
ravish. 

1 will  up  to  the  hills,  to  the  loftiest  one; 


232 


PEER  GYNT 


[act  V 


I will  look  once  more  on  the  rising  sun, 

Gaze  over  the  promised  land,  gaze  away 
Till  I ’m  tired ; then  try  and  get  snow-drifts  to 
cover  me; 

And  “ Here  no  one  lies  buried  ” have  written  over 
me ; 

And  afterwards  — then  — ! Let  things  go  as  they 
may. 

church-goers  ( singing  on  the  forest  path) 

Morn  blest  beyond  telling, 

When  Heaven’s  tongues  came  winging 
To  the  earth  like  the  flash  of  a sword ! 

Now  from  earth  to  His  dwelling 
Soars  up  His  sons’  singing 
In  the  tongues  of  the  Heaven  of  the  Lord. 
peer  gynt  ( crouches  as  in  horror) 

Never  look  there ! There  waste  and  ruin  abide.  — 

I ’m  afraid  I was  dead  long  before  I died. 

( Tries  to  creep  in  among  the  bushes,  but  comes  upon 
the  cross-way) 

BUTTON-MOEDER 

Good  morning,  Peer  Gynt ! Where ’s  the  list  of  your 
sinning? 

PEER  GYNT 

Do  you  think  that  I have  n’t  been  shouting  and 
dinning 

As  hard  as  I could? 

BUTTON-MOEDER 

And  met  no  one  at  all? 

PEER  GYNT 

No;  no  one  beside  a photography  rover. 

BUTTON-MOEDER 

Well,  the  respite  is  over. 


SCENE  x] 


PEER  GYNT 


233 


PEER  GYNT 


Everything  ’s  over. 

The  owl  smells  a rat.  Can’t  you  hear?  — there!  — 
its  call? 

BUTTON-MOEDER 

That ’s  the  matins-bell 

peer  gynt  ( pointing ) 

What ’s  that  shining  there? 

BUTTON-MOEDER 

Only  light  from  a hut. 

PEER  GYNT 


And  that  song  on  the  border 

Of  tears? 

BUTTON-MOEDER 

But  a woman’s  song. 


PEER  GYNT 


Ah ! — that  is  where 

Is  the  list  of  my  sins 

button-mo lder  (seizes  him ) 

Set  your  house  in  order ! 
[ They  have  come  out  of  the  underwood,  and  are  stand- 
ing near  the  hut.  Daybreak. 
peer  gynt 

Set  my  house  in  order?  It’s  there!  Off!  Go! 
Away ! Were  it  big  as  a coffin,  your  ladle  — 

’T  were  too  small,  man,  me  and  my  sins  to  cradle ! 

BUTTON-MOLDER 

To  the  third  cross-way,  Peer;  but  then  — so ! 

( Turns  aside  and  goes ) 
peer  gynt  ( approaches  the  hut ) 

Backwards  or  forwards,  it’s  just  as  long; 

In  and  out,  and  it ’s  strait  as  strong.  (Stops) 

No!  — like  a lament,  wild,  unending 


234-  PEER  GYNT  [act  v 

Is  this  to  come  back,  in  and  home  to  be  w:nding. 

( Takes  some  steps  but  stops  again) 

Roundabout,  said  the  Boyg ! 

( Hears  singing  in  the  hut ) 

No;  this  time  say 

Right  through,  however  strait  be  the  way ! 

[ He  runs  towards  the  cottage;  at  the  same  moment 
Solveig  appears  in  the  door,  dressed  for  church,  and 
with  her  hymn-book  in  a kerchief;  a staff  in  her  hand. 
She  stands  erect  and  mild. 

peer  gynt  ( throws  himself  down  on  the  threshold ) 
Have  you  doom  for  the  sinner,  then  speak  the  word. 

SOLVEIG 

It  is  he ! It  is  he ! 0 ! praised  be  the  Lord ! 

( Gropes  after  him) 

PEER  GYNT 

All  my  sins  and  my  trespasses ! Cry  and  call ! 

SOLVEIG 

Oh ! my  own  lad,  in  nought  hast  thou  sinn’d  at  all ! 

( Gropes  for  him  again  and  finds  him) 
button-molder  ( behind  the  cottage) 

The  sin-list,  Peer  Gynt? 

PEER  GYNT 

Cry  out  all  thy  wrong! 
Solveig  (sits  down  beside  him) 

Thou  has  made  all  my  life  as  a beautiful  song. 
Blessed  be  thou,  whom  at  last  I am  greeting! 
Blessed,  thrice  blessed  our  Whitsun-morn  meeting! 
peer  gynt 

Then  I am  lost. 

SOLVEIG 

One  yet  reigns  in  the  skies. 


SCENE  x] 


PEER  GYNT 


235 


PEER  GYNT 

Lost ! If  you  have  not  for  riddles  replies  ! 

SOLVEIG 

Ask  me  them. 

PEER  GYNT 

Ask  them ! — Ah ! once  we  get  started ! 
Can  you  tell  where  Peer  Gynt  has  been  since  we 
parted? 

SOLVEIG 

Been  ? 

PEER  GYNT 

As  when  first  from  God’s  thought  he  went  winging ; 
Been  with  his  destiny’s  mark  on  his  brow ! 

Canst  thou  tell  me  that!  If  not,  I must  bow 
And  go  down  where  the  mists  are  clinging. 

Solveig  ( smiling ) 

O,  that  riddle  is  easy. 

PEER  GYNT 

If  thou  knowest,  speak  now ! 
Where  was  I,  as  myself,  as  the  true  man,  the  whole? 
Where  was  I with  the  seal  of  God  set  on  my  soul? 

SOLVEIG 

In  my  faith,  in  my  hope,  in  my  love  wast  thou. 
peer  gynt  ( starts  back ) 

What  sayest  thou ! — Peace ! With  words  thou  art 
playing. 

Thou  art  mother  thyself  to  the  lad  that ’s  there ! 

SOLVEIG 

Yes,  I am;  but,  who  is  his  Father,  Peer? 

Surely  he  who  forgives  at  the  mother’s  praying. 
.peer  gynt  ( a gleam  of  light  comes  over  him,  he  cries ) 
My  mother ; my  wife ; woman  pure  from  all  sin ! — 
0,  hide  me,  hide  me  therein! 


236  PEER  GYNT  [act  v 

[ Clings  to  her  and  covers  his  face  in  her  lap.  A long 
stillness.  Sunrise. 

Solveig  ( sings  softly) 

Sleep  thou,  dearest  boy  of  mine! 

I will  cradle  thee,  I will  guard  thee.  — 

The  boy  has  been  sitting  on  his  mother’s  knees. 

And  through  life’s  long  day,  they ’ve  been  playing 
at  their  ease. 

The  boy  on  his  mother’s  breast  has  lain, 

Through  life’s  long  day.  God  shield  thee  from  all 
pain ! 

Close  up  to  my  heart  has  the  boy  been  prest 
Through  life’s  long  day.  Now  he ’s  tired,  and  would 
rest. 

Sleep  thou,  dearest  boy  of  mine ! 

I will  cradle  thee!  I will  guard  thee! 
button-molder’s  voice  ( behind  the  cottage ) 

We  will  meet  again,  Peer,  at  the  last  cross-way; 
And  then  we  ’ll  see  whether  — no  more  I say. 
Solveig  ( sings  louder  in  the  fuller  daylight) 

I will  cradle  thee,  I will  guard  thee  — 

Sleep  and  dream,  thou  boy  of  mine! 


CURTAIN 


NOTES 


NOTES 


THE  FIRST  ACT 

Pages  6-9.  The  story  of  the  flight  on  the  reindeer  is  bor- 
rowed from  a Norse  folk-tale.  It  should  be  noticed  that  the 
symbolic,  or  typical,  side  of  Peer  is  rendered  more  natural 
by  this  adoption  of  familiar  stories  — by  investing  his 
hero  with  some  of  the  characteristics  of  a folk-hero.  Ibsen 
ensures  the  Norwegian  reader  getting  into  the  right  frame 
of  mind.  It  has  not,  of  course,  quite  the  same  value  for 
foreigners ; but  there  seems  no  reason  why  Peer  Gynt 
should  not  become  as  acclimatised  to  England  as  have  Faust 
and  Don  Juan. 

Page  15.  I have  used  “ Kaiser  ” as  well  as  “ Emperor  ” 
for  rendering  the  word  “Kejser”:  preference  is  given  to 
“ Emperor  ” in  the  cosmopolitan  period  of  Peer  Gynt’s 
career. 

Page  25.  In  a letter  to  me  Mr.  Archer  points  out  that 
“ Engelland  ” bears  the  same  relation  to  “ England  ” as 
does  “ Norroway  ” of  the  ballad  to  our  “ Norway.”  I 
thought  of  altering  it  to  “ Lvonesse,”  but  on  consideration 
have  kept  “ Engelland.”  The  reader  must  understand 
that  it  is  a dim  country  of  romance  that  Peer  is  dream- 
ing of.  (It  should  also  be  remembered  that  “ Engelland  ” 
is  an  older  form  preserving  the  original  “ Angle-land.” 
— E.  B.) 


Page  28.  “ Kitchen-Master  ” — a master  of  ceremonies: 
his  duty  is  to  see  that  everything  goes  off  well  at  the  feast. 

Page  28.  “ Here  the  walls  are  wide,  and  the  roof  of  the 
highest!”  refers  to  the  country-dance  (the  “Hailing”), 
in  which  it  is  the  object  of  the  dancer  to  kick  the  rafters. 


240 


NOTES 


Page  32.  “With  the  Vicar  I read”  — i.  e.,  prepared 
for  Confirmation. 

Page  35.  “ The  Devil  in  the  Nut  ” is,  of  course,  an  old 
folk-tale. 

Page  39.  “ He ’s  one  of  the  ‘ swear-not,’  ” etc.  Ibsen 

had  been  at  Skien  during  a revival,  not  dissimilar  to  that 
which  ten  years  ago  overran  Wales.  Part  of  Brand  owes 
a good  deal  to  the  effect  produced  on  Ibsen  by  Pastor 
Lammers,  the  missioner  of  the  movement;  and  here  he 
makes  Peer  Gynt  include  Solveig’s  parents  among  the 
“ awakened.” 


THE  SECOND  ACT 

Page  52.  Three  Farm  Girls.  I can  see  no  good  reason 
for  not  translating  “ Saeter.”  “ Saeter  ” is  an  out-farm,  to 
which  the  cattle  are  sent  to  graze  during  the  summer,  and 
apparently  the  autumn;  for  in  the  folk- tale  of  Peer  Gynt 
(fn  Asbjornsen)  Peer  starts  on  his  adventures  “ late  in  the 
autumn.”  Ibsen  has  borrowed  the  idea  of  the  courtship 
between  the  farm  girls  and  the  trolls  from  the  folk-tale; 
but  in  it,  while  there  are  only  three  girls,  there  are  four 
Hill-Trolls  — Gust  of  Vaeré,  Tron  of  the  Valfjeld,  Tjos- 
tol  Abakken,  and  Rolf  Eldforpungen.  Tron  is  the  only 
name  Ibsen  has  kept.  Only  one  of  the  girls  in  the  folk- 
tale, mad  Kari,  has  any  desire  to  have  a troll  as  a lover; 
the  other  two  Peer  Gynt  finds  terrified  and  at  their  prayers, 
and  glad  of  his  succor.  It  will  be  seen  by  this  that 
Ibsen  has  quite  altered  the  color  of  the  old  tale:  the 
girls  in  his  poem  are  more  “ forthv,”  as  they  say  in  Corn- 
wall, and  brag  of  their  troll-lovers.  In  the  affair  with 
Ingrid,  Peer  sins  against  physical  love;  in  this  adventure, 
against  love  that  rules  fancy;  and  in  the  bitter  business 
with  the  Green-Clad  One,  against  imaginative  Love. 

Page  56.  Scene  Five.  For  the  last  two  scenes  we  have 
been  on  the  edge  of  fairyland:  here  we  enter.  There  is. 


NOTES 


241 


however,  no  kind  of  need  to  call  these  and  the  following 
scenes  “ visions,”  or  “ supra-sensual  experiences.”  They 
are  as  real  as  any  of  Peer’s  selfish  experiences. 

Page  60.  It  is,  perhaps,  worth  noticing  that  the  Dovré- 
King  here  anticipates  Nietzsche;  the  Superman  is  remark- 
ably like  a Hill-Troll.  And  Nietzsche’s  blustering  non- 
sense finds  its  best  corrective  in  the  stern,  Greek  sense  of 
Ibsen’s  plays. 

Page  62.  “ It ’s  home-brew’d.”  Here  Ibsen  is  attack- 

ing that  spirit  of  nationalism  which,  from  his  superior 
vantage-point  in  Italy,  he  considered  “ narrowing.”  I do 
not  think  that  this  and  the  similar  outbursts  in  Act  IV 
need  be  taken  too  seriously. 


THE  THIRD  ACT 

Page  97.  Every  one  who  cares  for  fairy-stories  will 
recognize  the  Castle  West  of  the  Moon  and  East  of  the 
Sun.  The  use  Ibsen  makes  of  it  here  is  perhaps,  with  the 
exception  of  the  Boyg,  the  most  consummate  of  his  folk- 
tale recollections. 

Page  98.  “ Grane  ” was  the  name  of  Sigurd  Fafnirs- 

bane’s  horse. 

THE  FOURTH  ACT 

Page  103.  “ Mr.  Cotton.”  So  in  the  original.  Also  his 
first  remark  is  “ Very  well,”  in  English.  At  first  I kept 
this;  but  on  consideration  decided  that  what  point  it  had 
was  lost  on  English  readers.  I have,  however,  kept  the 
scraps  of  French  which  Ibsen  ascribes  to  M.  Ballon,  be- 
cause they  have  an  appeal  to  us,  as  to  Ibsen.  Also,  it  is 
not,  I think,  insular  prejudice  which  makes  me  think 
Ibsen  was  better  acquainted  with  colloquial  French  than 
conversational  English. 


212 


NOTES 


Pages  103,  104.  I need  hardly  say  that  “ gout,”  “ ton,” 
“ en  gar9on,”  “ Ur-Natur,”  “ Ei  was”  are  all  Ibsen’s 
phrases. 

Page  107.  “One  norm  you  use”  — “norm”  is  the 
word  in  the  original. 

Page  112.  “Vest  for  me”  — apart  from  its  conven- 
ience as  a rhyme,  I thought  it  allowable  to  let  Peer  Gynt, 
in  his  role  as  nouveau  riche,  use  this  commercial  synonym 
for  waistcoat. 

Page  115.  “ a la  Lippe-Detmold,”  “ en  bloc”  — so  in 

original ; also  “ Sir  Gynt.”  Perhaps  it  is  as  well  to  re- 
mind the  twentieth-century  reader  that  Lippe-Detmold 
was  an  independent  principality  when  Peer  Gynt  was 
written.  It  is,  of  course,  now  one  of  the  twenty-six  States 
that  form  the  German  Empire. 

Page  118.  “ Sir  Peter  Gynt.”  So  in  original. 

Page  119.  “Damn  it.”  Ibsen  gives  Mr.  Cotton  that 
inevitable  “ God  dam.” 

Page  120.  “ Enfin  ” — so  in  original. 

“ But  to  the  whole  world  I protest  ” — those  who  wish 
to  grasp  this  and  other  political  allusions  are  referred  to 
Mr.  Archer’s  edition  of  Peer  Gynt. 

Page  121.  “Peter”  — so  in  the  original. 

Page  124.  “And  the  world’s  a bubble, 

And  to  follow  the  use  and  wont  saves  trouble.” 

We  shall  find  all  through  this  Act,  and  to  a great  extent 
through  the  next,  these  parallelisms  in  speech  or  experi- 
ence to  Peer’s  previous  adventures.  This  scene,  I need 
hardly  say,  corresponds  with  that  in  the  Dovre-King’s 
hall,  of  which  Peer  Gynt  has  just  given  so  glowing  an 
account  to  his  three  friends. 


NOTES 


243 


Page  146.  “Eh  bien!”  So  in  the  original. 

Page  157.  “ The  old  group  of  Interpreters  three  score 

and  ten.”  Mr.  Archer  says  this  is  meant  to  refer  to  the 
writers  of  the  Septuagint.  If  so,  surely  the  160  new  ones 
is  merely  a round  number  for  the  languages  into  which  the 
Bible  has  been  translated  since  the  Greek  version. 

Page  161.  Huhu  is  a hit  at  those  Norwegians  who  were 
seeking  to  use  an  artificial  dialect,  created  out  of  the  vari- 
ous local  dialects,  as  a literary  language.  The  movement 
has  increased  largely  since  Ibsen  wrote  Peer  Gynt.  There 
is  no  exact  parallel  to  it,  as  the  Gaelic  League  endeavours 
to  revive  for  modern  purposes  a language  with  a splendid 
past  literature. 

Page  165.  “ Rechts  and  links  ” — so  in  original. 

THE  FIFTH  ACT 

Page  169.  Hallingskarv,  Jokle,  Folgefånn  — these  are 
all  mountains. 

Page  177.  The  Strange  Passenger.  It  should  be  re- 
membered that  Ibsen  stated  he  put  in  this  character  “ from 
caprice  ” — but  he  uses  his  caprice  with  wonderful  effect. 

Page  185.  “Across  life’s  night,”  etc.  From  here  till 
the  end  of  this  scene,  in  spite  of  its  obscurity,  it  is  evident 
that  Ibsen  was  preoccupied  with  the  same  religious  mo- 
tives that  inspired  the  writing  of  Brand.  The  Strange 
Passenger,  with  this  sentence,  really  changes  his  character 
altogether.  Up  to  now  he  has  been  a jester,  with  no  ap- 
parent message:  now  he  personates  Peer’s  “ Last  Chance 
he  almost  takes  on  the  role  of  guardian  angel.  The  most 
difficult  of  his  ambiguous  speeches  is  certainly  that  which 
I have  rendered: 

“ They  who ’ve  gone  thro’  incineration 
On  week-days  must  have  relaxation.” 


244- 


NOTES 


Mr.  Archer’s  literal  version  is : 

“ The  host  whose  dust  inurned  has  slumbered 
Treads  not  on  week-days  the  cothurnus.” 

One  must  not  strain  so  fantastic  a passage  as  this,  but  I 
think  we  can  safely  assume  that  The  Strange  Passenger  is 
protesting  against  the  idea  that  religious  sincerity  must 
always  be  coupled  with  a repellent  severity  of  aspect. 
Anyway,  he  says,  “ Where  I live  ” — i.  e.,  some  spirit- 
world  — “ We  do  take  week-days  off.  We  allow  ourselves 
to  smile  then.” 

I have  dealt  with  this  because  I have  found  that  its 
meaning,  in  English,  Norwegian,  and  German,  is  regarded 
as  hopelessly  obscure. 

(The  passage  mentioned  by  Mr.  Roberts  as  particularly 
difficult  means  literally : “ The  host  that  have  slept  in  the 
burial-urns  do  not  put  on  the  buskin  for  every-day  occa- 
sions.” The  inner  meaning  of  it  is  that  those  who  have 
passed  through  the  ordeal  of  death  can  afford  to  smile  at 
everything  else.  Implied  in  it  is  a suggestion  that  beyond 
the  grave  waits  a peace  that  gives  but  little  weight  to 
human  worries  and  fears.  The  figure  of  the  Strange  Pas- 
senger is  a symbolization  of  death  — or  rather  of  one  of 
its  aspects,  another  one  being  represented  by  the  Button- 
Molder.  The  latter  suggests  death  as  the  renewer  of 
life,  as  the  fount  into  which  life  lets  its  overflow  fall  back 
in  order  that  thence  it  may  issue  again  in  more  satisfac- 
tory forms.  The  Strange  Passenger,  on  the  other  hand, 
presents  death  as  the  bringer  of  peace  and  rest,  who  de- 
mands a surrender  of  the  fleshly  shell  as  the  price  of  his 
services.  One  might  say  that  the  refrain  to  every  word 
uttered  by  the  Passenger  to  Peer  is  this : “ The  lesson 
taught  by  mastered  fear  is  that  death  and  external  dis- 
solution come  as  a boon  and  not  as  a curse.”  Back  of  the 
Button-Molder’s  insistence  I perceive  instead  a thought 
which  seems  to  have  been  present  in  the  mind  of  Goethe 
during  one  of  his  talks  with  Eckermann:  the  thought  that 
immortality  is  not  inherent  in  man,  but  must  be  earned. 
For  this  reason  I believe  that  the  fifth  act  of  Peer  Gynt 


NOTES 


245 


may  prove  one  of  the  foundation  stones  of  a future  con- 
ception of  death  that  will  be  less  panic-stricken  and  more 
scientific  than  the  prevailing  one.  — E.  B.) 

Page  192.  Scene  Four  shares  with  Three  the  reputation 
of  being  the  most  obscure  in  the  play.  It  may  help  readers 
to  follow  the  under-meanings  if  I give  the  names  of  the 
characters.  “ A Man  Dressed  in  Mourning,”  is  Aslak  the 
Smith,  “ A Man  in  Grey  ” is  Mads  Moen,  and  the  funeral 
is  evidently  Ingrid’s,  who  seems  to  have  married  Aslak. 
The  whole  scene  represents  the  sordid  recollections  of  an 
old  man  about  his  disreputable  past,  and,  as  Peer  says, 
“ the  deeper  he  goes,  the  worse  is  the  smell.”  First  we 
have  Aslak  and  Mads’  unsavory  gibes  about  Ingrid;  then, 
when  Peer’s  name  is  introduced,  Aslak  shamelessly  claims 
him  as  a relative  — for  did  he  not  marry  Peer’s  discarded 
mistress?  Then  Mads  intervenes,  also  claiming  relation- 
ship, for  he  had  been  betrothed  to  Ingrid,  and  so  was  con- 
nected with  Peer  Gynt. 

Then  finally  there  is  the  mysterious  Lad  who  speaks  of 
the  dead  woman  as  “ Mother,”  but  calls  Aslak  by  his  name. 
It  is  his  remark  that  causes  Peer  the  greatest  disgust,  and 
I think  we  must  assume  that  the  Lad  is  the  son  of  Peer 
and  Ingrid.1  The  appropriateness  of  Peer’s  tale,  at  the 
end  of  the  scene,  is  obvious  enough.  Just  as  the  Devil’s 
audience  was  disgusted  at  the  poor  quality  of  the  real  pig, 
so  the  characters  in  this  scene  go  on  chattering  about  the 
old  fanciful  Peer  Gynt,  when  the  genuine  man  is  there  and 
they  quite  fail  to  recognize  him. 

Page  201.  “ Life  uses  fairy-gold,  as  the  phrase  is,”  etc. 

Even  Mr.  Archer  does  not  translate  his  original  literally 
in  this  passage.  The  Norwegian,  rendered  verbatim,  is 
“ Life  has,  as  it ’s  phrased,  a fox  behind  its  ear.  But  when 
you  grasp  at  him,  Reynard  takes  to  his  heels.”  This  odd 
expression,  “ to  have  a fox  behind  the  ear,”  indicative  of 

1 It  is  barely  possible  that  he  is  the  son  of  Ingrid  and  Mads.  The 
betrothal  ceremony  in  Norway  was  frequently  the  beginning  of  marital 
relations.  Cf.  the  sermon  in  this  Act. 


246 


NOTES 


deceit  and  double-dealing,  would  convey  nothing  to  Eng- 
lish readers.  I think  the  well-known  tradition  of  “ fairy- 
gold  is  a good  enough  equivalent,  and  more  suited  to  the 
mood  of  the  passage  than  Mr.  Archer’s  “ Life,  as  they 
say,  plays  with  cards  up  its  sleeve.” 

Page  205.  The  scene  between  Peer  and  the  Button- 
Molder,  apart  from  its  intrinsic  power,  is  interesting  to 
English  readers  as  expressing  the  same  idea  as  does  Mr. 
Kipling’s  Tomlinson.  The  resemblance  is  even  closer  in 
Scene  Ten,  when  Peer  is  pleading  with  the  Devil  himself. 

Page  233.  “ The  owl  smells  a rat.”  (Here  Mr.  Roberts 
has  given  the  only  feasible  translation  of  a phrase  which, 
in  a note  excluded  by  me,  he  professes  not  to  understand. 
The  Norwegian  phrase  is:  Uglen  lugter  lunten.  The  lit- 
eral meaning  of  it  is:  “ The  owl  smells  the  match.”  It  is 
an  old  saw,  dating  back  to  the  time  of  primitive  fire-arms, 
when  the  hunter  had  to  use  a match-cord  to  set  off  his  gun. 
The  smell  of  the  burning  cord  served  as  a warning  to  the 
bird,  either  of  impending  danger  or,  as  seems  more  prob- 
able, of  an  impending  feast.  On  meeting  the  Button- 
Molder  a second  time,  Peer  thinks  the  game  is  up,  and 
the  sound,  at  that  moment,  of  a church  bell,  which  he  re- 
gards chiefly  as  a symbol  of  death  and  burial,  makes  him 
think  of  an  owl  hooting  at  the  scent  of  possible  prey.  — 
E.  B.) 


I 


